("opsnt'lu '^ 2()()S bv Jennifer Cicorgc.
All rights rcscr\Cii.
All photos In Icnnifcr George unless otherwise indicated.
Published by:
Amherst Media, Inc.
P.O. Box SS6
Buttaio, N.V. 14226
Fax: 716 874 4S08
www AniherstMedia.coni
Publisher: CTaig Alesse
Senior Hdiior/PrtKiuction Manager: Michelle Perkins
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ISBN 13:978 1 S8428 218 1
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chan.c..l. photocopied, recorded or otherwise, wi.hou, prior written consent tront the pubhsher.
Notice or nisc.|ain,er: The .„.. .ion contained in this hoo. is based on the ^^^o...,^ and opinions. T^^
author and puhHsher w.ll not be held hable for the use or misuse o, the mtormafon m th.s book.
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CONTENTS
INTRODUCTION 5
1. PREPARING FOR THE SESSION 9
Location 9
Scheduling the Session II
Clothing and Makeup 12
2. CONNECTING WITH YOUR CLIENTS 14
Building the Relationship 14
Share Your Vision 14
Be Hncouraging 15
Photographing Nude Subjects 17
Cxinnecting with Cliildren 19
3. PROPS, FABRICS, AND BACKGROUNDS 22
Props 23
Fabrics 24
Backgrounds 25
4. POSING 28
The History of Posing 28
Conceptualizing the Pose 28
The Basic Pose 30
Perspective 36
Correcti\e Techniques 36
Posing Couples .40
Posing with the Children 44
Posing Groups 46
Gaining Expertise . 47
5. COMPOSING THE PORTRAIT 51
Balance 51
Relative Size 52
Rhythm 52
Rule otThirds 53
Leading Lines 53
C'olor Harmony • •54
Subject's Relationship to the Light 55
Angle of \'iew 56
Troubleshooting 57
6. LIGHTING IN THE HOME 58
Hard vs. Soft Light 58
Finding the Best Light 59
7. STUDIO LIGHTING 64
The Toolbox 65
Light Ratios 65
Broad .m<.\ Short Lighting 67
Basic Light Patterns 67
Simulating Window Light 68
8. RETOUCHING AND CREATIVE EFFECTS 70
Basic Retouching of Skin 71
Digital Slimming 73
Nik Software's Midnight Filter 74
Basic Retouching and F'nhancement 76
Nik's Monday Morning Filter 78
Border Effects 79
Fantasy Images 80
9. MARKETING AND SALES 90
Marketing Is Essential tt> Success 90
Your Image 90
Brochures and Flyers 92
Postcards 92
CONTENTS 3
mm
Newspaper and Magazine Ads 94
Your Website 94
Television Ads 98
Word of Mouth 98
Keep Them Coming Back for More 98
Portrait Displays 98
Public Relations 99
Generating Your Own Buzz 101
Sales 102
10. PROFESSIONAL PERSPECTIVES 103
Ke\4n Kubota 103
Terri Lee .-.''.'r*. ■_ l06~
Tim Meyer jqo
Ciail Patrice jj^q
Kim Treffinger j]^2
Carl Caylor jjg
Gigi Clark j jg
Kathleen and Jeff Hawkins jjg
Judy Host 120
Index 122
ABOUT THE AUTHOR
"At last, we have someone who creates
breathtaking new images." — Tony Corbell
Jennifer George owns and operates Jennifer George Photography
in San Diego, CA. She received her Masters degree from the Pro-
fessional Photographers of America (PPA) in only three years' time
and received her Photographic Craftsman degree the next year.
After winning the California Photographer of the Year Award in
2001 from Professional Photographers of California she was able
to travel across the state, sharing her award-winning portrait style
and inspiring others to tap into their creativity. Jennifer received
the Grand Premiere and First Place Awards at the Wedding and
Portrait Photographers International (WPPI) print competition in
2003, then won the gold-level Photographer of the Year Award
from PPA in 2005. She taught at the PPA Women in Photography
convention in 2004 and spoke and taught at the annual WPPI
convention on three separate occasions. Six of her works have
been selected for National Loan Exhibition by PPA. Additionally,
two of her prints were selected for the PPA display in SeouL
Korea, in 2005.
Jennifer has quickly gained a reputation for her innovative,
heartfelt style and is passionate about reaching out to other pho-
tographers. She is a frequent guest Lecturer at colleges, universi-
ties, photography affiliate organizations, and workshops in the
United States and abroad.
The Art of Pregriancy Photography is Jennifer's second publica-
tion. She joined with other photographers to produce A Mother's
Touch {Zondervan Publishing House [a division of HarperCollins
Publishers] 1998), a book of photos and quotes from women on
motherhood. Her photos and statements have appeared in Pro-
fessional Photographer magazine. The Portrait Photographer's Guide
to Posing (Bill Hurter; Amherst Media, 2004), The Portrait Pho-
tographer's Handbook (Bill Hurter; Amherst Media, 2005), and Dig-
ital Photography for Children's and Family Portraiture (2nd ed.,
Kathleen Hawkins; Amherst Media, 2008).
In an interview in The Portrait Photographer's Guide to Posing,
Jennifer said, "I push myself creatively in order to create things
my clients have never seen before." Jennifer also explains that her
signature style includes the use of body makeup and skin tone
changes because she is enthralled with the idea that who we are
is much more than skin deep, and it doesn't matter what color you
are on the outside. She says, "It is the soul underneath that is so
beautifuL"
Jennifer teaches other photographers to cultivate the techni-
cal skills they need to enhance their images. However, she
strongly feels that photography has moved away from a techni-
cal skill and into the realm of accepted creative art. She says,
"Albert Einstein said that creativity is more important than knowl-
edge. All the knowledge in the world will never allow you to touch
others with emotions and to touch their soul— that's the role of
creativity."
4 THE ART OF PREGNANCY PHOTOGRAPHY
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INTRODUCTION
► CLIENT TESTIMONIAL
"Words cannot fuLly descnbe the beauty of
these photos. They are amazing. Both Kent
and Keira look like heavenly angels. I
really feel like you captured my feelings
about my pregnancy too."
— Christine R.
Arc \'()u l(K)king for a new genre that will allow you to increase your stu-
dious revenue? Would you like to secure the job of producing a family's
portrait work for the next eighteen to t%vent>'-five years? Do you v\ ant to take
adxantage of an emerging market trend in portrait photography? If you an-
swered yes to any of these questions, you should consider adding maternm'
photography to your studio's repertoire.
Images of pregnant women were once taboo in our culture, but in 1991
when Demi Moore posed for the cover of Vanity /-Vi/r magazine while seven
months pregnant, a shift occurred in how our culture views pregnant women.
That single photograph opened the doors for societ}' to acknowledge and
celebrate the beaut>' of the pregnant body.
The demand for images of women who are pregnant has never been
greater. Magazines are filled with photos of celebrities proudly showing off
their pregnant figures, and women everywhere want to document their
beautv during pregnancy. This is a relatively new and highly profitable mar-
ket for portrait photographers. Portraits of pregnant women have become
elegant, sensual, and intimate. The relationship you build with your clients
during the maternity session can also lead to future portrait sessions with the
women and their tamilies — and that's good news for the professional wedding
and portrait photographer.
Historically, a wedding photographer would book a couple's engage-
ment/wedding photo session; a portrait photographer would take newborn,
early childhood, and family portraits; then another photographer would take
the children's school and senior portraits. Even if you were a wedding and
portrait photographer and recorded all of those events in a client's life, there
was little more you could do. However, by adding maternit\' photography
to your studio's repertoire, you have another opportunity' to strengthen your
relationship with your clients, document an important milestone in their lives,
and add value to your services. Imagine taking a new client from engagement
to wedding photos, to maternit)' photos, to newborn photos, to children's
photos, to family portraits, to senior portraits, and then to engagement pho-
tos — the full circle. The market is such that if you can produce a beautiful
image of a pregnant woman, you will have that family's portrait work for the
INTRODUCTION 5
next hticcn xcars— at a niiniiinim. More and more photographers are seeing
maternirv photography as a nariiral evolution for wedding photographers
w ho want lo continue the relationship they have already established with their
Left-There are times when all the elements
come together in a split second and you have th
opportunity to capture an amazing moment. This
beautiful family was close and tender with each
other; only slight refinements to the pose were
required to compose the story. This image was
created in the studio using window light. A black
panel was used at camera left to deepen the shad-
ows. The portrait was captured with a Fuji FinePix
S2 Pro camera at 'Ao second at f/4.0 with an ISO
of 400. After the image was retouched in Photo-
shop, it was enhanced with the Nik Color Efex Pro
2.0 Midnight filter. Facing page-Creating a
beautiful image is simple when you understand
light. Creating this image required only a large
window, some fabric, and directing the subjects
into a natural pose. The couple was posed atop
several backdrops and fabric placed on the floor.
The light came from a large sliding glass door in
the living room of their home. This image was
captured on a Fuji FinePix S3 Pro digital camera
with a Tamron SPAF Aspherical XR Di LD 28-75mm
f/2.8 lens. The ISO was 400, and a shutter speed
of '/90 second and aperture of f/4.8 were selected.
The image was slightly retouched in Photoshop
and then enhanced with Nik's Midnight filter.
Clients.
Maternity sessions can rcsuh in cx.]uis,ie images. Capturing the woman at
this remarkable stage in her lite sets this tvpe of portrait photography apart
6 THE ART OF PREGNANCY PHOTOGRAPHY
I
From the rest. This is an opportunity for the portrait photographer to utiH/e
all of their technical and artistic skills to create dramatic to kixurious images,
depending on the client's personality and preference. None of these sessions
or images will ever be called '"'rypical."
The time is finally right for matcrnit\' portraiture. Photographers can use
Adobe Photoshop and a host of Photoshop-compatible pUig-ins to retouch
stretch marks and blemishes quickly and easih' and achieve greater creative
and artistic freedom. From slimming areas ot a subject to the fantasy approach
of placing the newborn baby in the image of the pregnant mother, to con-
verting color images to black & white, anything is possible!
ABOUT THIS BOOK
The Art of Pn-jjiiancy Photography was written for the intermediate to ad
vanccd photographer w ho wants to add pregnancy photography to his or her
repertoirc. While many 'iiow-to" books teach the basic technical information
required to conduct a photo session, this book explores maternity photogra-
phy from a conceptual and artistic point of view. Readers are encouraged to
think about the location of the session, what props and fabrics will best en-
hance the images, how to pose the subject and create an effective composi-
tion, how to create dimension and flatter the subject's form with light, and
how to apply creative effects to the portraits to take your artistry to the next
level. The book also looks closely at the importance of developing your rela-
tionship with your subject. It is essential that photographers understand that
helping the pregnant woman relax and feel beautiful is just as important to a
successful shoot as setting up flattering lighting. Each chapter of the book will
explore the elements that must be considered to conduct an extraordinary,
artistic, and rewarding maternity portrait session.
Left — It is a privilege for photographers to wit-
ness and capture tender moments like this. Hav-
ing the right tools and knowledge makes all the
difference. This couple was lying by their bedroom
window in an area propped with fabrics. Placing
them in the right light produced the form and
depth seen in the portrait. The image was cap-
tured on a Fuji FinePix S3 Pro camera with aTam-
ron 28-74mm f/2.8 lens and settings of f/4.8 and
1/90 second at an ISO setting of 400. The image
was converted to black & white with the Kubota
Artistic Actions Vol. Two New B&W action, and the
edges were darkened with Kubota's Edge Burner
action. {The actions are available at www.Kubo-
taImageTooLs.com.) Right— Working with chil-
dren can be rewarding when you understand what
they respond to and don't respond to. This active
little boy was more willing to pose with the right
directions. This window light image was captured
with a Nikon D2x and Tamron 28-75mm f/2.8
lens. The exposure was captured at an ISO of 400,
a shutter speed of 1/125, and an aperture of
f/5.3. After the image was retouched in Photo-
shop, it was enhanced with Nik's Midnight filter.
8 THE ART OF PREGNANCY PHOTOGRAPHY
m^
1. PREPARING FOR THE SESSION
C
onducting a prc-scssion consultation w ill allow yon to develop a rapport
' v\ith voiir client and make key decisions about how the portrait session
will untold. I'his is the time to select a location for the portrait session, set a
date and time, discuss clothing and makeup options, and share a few success
► CLIENT TESTIMONIAL stories from your previous pregnancy sessions. This is the perfect time to as-
"Being photographed pregnant was sure your client that a maternit>' session can be more than a means to cap-
empowering. I felt gorgeous, turing a moment in rime^it can also be an opportunity to create artful
Absolutely gorgeous!" images that depict your client not as clumsv and large but graceful and beau-
— Rachel P. jj^,^,] vVhen a woman contacts you to book a session, offer to conduct the
consultation in her home, as this may be more convenient— and more com-
fortable — for the client.
LOCAHON
Most photographers don't put a great deal of thought into selecting a loca-
tion for their client's portrait session, but in pregnancy photography, choos-
ing the k)cation can be one of the most important decisions tlie photographer
and client make.
Home vs. Studio, Most portrait clients come to the studio to be pho-
tographed. However, for a maternit\' client, the best location for the session
w ill likely be her home. In maternity portraiture, the subject's comfort is
more critical than it is with any other demographic. Pregnancy causes many
changes in a woman's body. Not only does the abdomen become enlarged,
shifting the woman's center of gravity to her middle, but she may also be
coping with m aching back and knees from carrying the extra weight, diffi-
cult)' breathing from the growing baby pushing on her chest cavit>', and hip
pain from the stretching of ligaments as her delivery date approaches.
Working in your subject's home will save her the trouble of having to
travel. She will also benefit from having more clothing choices at hand and
the ability to change in the comfort of her own bedroom or bathroom.
There are many advantages for the photographer in conducting a session
Simple lighting and sumptuous fabrics can be ^^ ^'^^ subject's home as well. Window lighting is one of the best lighting sce-
used to create heirLoom images in the subjects' narios for portraiture; the light is full, soft, and luminous — and chances are,
home or in the studio. your client's home will offer a variety of etTective window light options. Also,
PREPARING FOR THE SESSION 9
it mav be ditriaik tor a prcgn.int woni.in ncaring rhc end of bcr
trimester to move at-oiinJ. and having a bed to pliotograph her on can offer
relief for her aching back and hip joints. (Note that most master bedrooms
ha\e the largest bed in the home mu\ a Iavv^c w indow lo work with. ) As the
subjeet relaxes and \ou dole out praise, vou w ill sec a look of eahn .md seren-
ity come o\ cr licr.
If Noii're conducting the consultation in votir ciientN home, you'll w ant to
determine which rooms will prcnide the best window light opportunities,
whether it's okav to moAc the tiirniiLne, And ,\n\ other issues that will mipact
the session. Vou can also sell your client on the above-mentioned benefits of
conducting the session in her home.
On the other hand, there will be times when the studio is the best choice
for the session. In some cases, the portraits are being created as a gift for the
baby's father, and the woman may ha\e trouble scheduling a session w hen her
significant other is not at home. The studio w ill also likeK be the best choice
for the session if" the client desires high key or low ke\' images.
Shooting from a higher perspective in the sub-
jects' bedroom allowed for the beautiful presen-
tation shown in the final image.
This pair of images shows once again how a few
simple tools and props plus great window light
can be used to your advantage when creating an
image in your subjects' home.
SCHEDULING THE SESSION
Don't torgct to determine the client's due date, and tr\ to book the session
as close to that date as possible. Many photographers feel that it is best to
photograph the mother about midway through the eighth month. At this
point in the pregnancy, tiie mother is still mobile mk\ the abdomen is close
PREPARING FOR THE SESSION U
to its fiill size. For the mother carrying twins, the time for photographing
the pregnancy will be toward the beginning of the third trimester, at about
seven months. By this time, the mother of twins will already have a large
midriff, and because many twins are born early, scheduling a session later in
tlie trimester may mean missing the opportunity to capture the moment.
Booking the session for a time of day that best suits the mother's sched-
ule is critical. Choose a time of day when the mother will be well rested, and
make sure she has no other activities planned for the day of the shoot. If
young children \vill be present during the session, it may be best to work in
the morning before die toddler becomes tired. Suggest the mother eat a light
snack before the session. Finally, realize that if she is bringing a baby, she ma\'
need to stop during the session for a feeding.
CLOTHING AND MAKEUP
During the consultation, you'll want to discuss the type of clothing and
makeup that will yield the best portrait results. As the many images in this
book show, my own approach is to drape and wrap the subject in beautiful
fabrics rather than have her wear street clothes. To do this, the woman must
wear a strapless bra (preferably one that is well matched to her skin tone). You
might also consider providing tube tops in a variety of sizes; these can be
beneficial in a pinch. The mother should wear low-cut, small underwear that
can easily be covered with the fabric. Be sure to suggest that she wear loose
clothing before the session, so as not to create lines or indentations on the
skin. Street clothes, of course, are also an option for some clients.
Unless you are able to hire a makeup ardst, the subject will have to apply
her own makeup. It is recommended that all subjects wear makeup for their
portrait session. Applying a thin layer of complexion-matching foundarion
will smooth out the pregnancy mask and blemishes from changing hormones.
Eyebrow pencil will help keep the eyebrows from disappearing in the images
and will help to give the face structure. A light coat of mascara is needed for
eyelashes. Adding a little blush to the cheekbones gives form to the face, and
lipstick will help keep the lips from vanishing in the portraits.
^
Top — The neutral clothing complemented thisJ
subject's coloring and keeps the eye on the focal'
point of the portrait. Above and fadng page—
A comfortable bed and rich, luxurious fabrics
provided the perfect backdrop for this beautiful
portrait.
12 THE ART OF PREGNANCY PHOTOGRAPHY
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2. CONNECTING WITH YOUR CLIENTS
Ultimately, your success in creating truly great portraits wWl stern from
your abilit)' to establish a close connection with your clients. While this
point may seem obvious, not all photographers put as much effort into the
WAX they relate to people as they do to the technical aspects of their photog-
raphy. In this chapter, well look at some strategies for making the client phys-
ically comfortable, building her enthusiasm for the session, working with
other family members, and expressing your goals for the session.
BUILDING THE RELATIONSHIP
hi maternity photography, ensuring that the client is comfortable and relaxed
is critical. Starting with the pre-scssion consultation, \'our goal is to establish
a trusting relationship with your subject while getting the critical information
you need to ensure the session meets her needs. Ask questions about the out
come she wants to achieve in the session, but also be sure to ask about her
life. Determine why she is interested in having this time in her life pho-
tographed. Share stories about other maternity clients you have pho-
tographed. Gather information that will help you ensure the best location for
the setting. As you do so, determine when the baby is due and whether there
are any siblings — if so, find out whether the sibling or other children are ex-
cited or upset about the new addition.
Ensuring your client's physical comfort is an essential component in build-
ing your relationship. If your pregnant subject is uncomfortable, her ability
to relax and enjoy the session will be hampered. Being mindful of the phys-
ical changes that pregnancy brings will be tremendously helpfol in preparing
you to ensure your subject's comfort during the session. For instance, a
mother carrying a neady Hill term baby will find herself uncomfortably warm
most of the time. Anticipating the problem and asking her if the room tem-
perature needs to be changed or lights should be moved can make a worid
of difference in the quality of the session.
► CLIENT TESTIMONIAL
"I love my pregnancy pictures because
they give me a chance to look back at a
special time in my life, waiting in
anticipation, not knowing the face or
the personality of that little person to
be born."
—Iris H.
SHARE YOUR VISION
In the beginning of the session, express your goals and share your ideas. Help
them get excited about your vision. Explaining the lighting setup, the direc-
14 THE ART OF PREGNANCY PHOTOGRAPHY
^j^^^MMk
^mmmamm
A good way to instruct a couple or group is to set tion of the light, and where the suhjeet should stand, sit, or lie down will
the anchor person in place first, then roLe-play ,^^.[p ^^ ^^^^j,^^ ^,^^.4^. ^^^^^^ j,^ ^,^^^^ ^-^^.-^^^^ ^ brief cnerview contributes to their
the second position. With a group, this is a good
understanding and support for your idea.
way for the other subjects to see what you are
trying to achieve before they try to get into place.
BE ENCOURAGING
A woman in the late stages of her pregnancy will need lots of encouragement.
From the moment you hrst meet the subject, take note of the positive as-
pects of her appearance and pay her compliments. This will help build her
confidence, which, in turn, will help you in posing her and composing the
image later in the session. For example, if your subject has bright blue eyes,
compose an image that brings the viewer's attenti(Mi to her face. A woman
with a tiny figure can do several poses standing, while one with extra weight
may have to do most lying down.
When it's time to move on to the posing, there are a xariety of ways to en-
sure a successful, flattering pose. The \arious strategies will be covered in de-
tail below.
Show and Tell. To evoke the emotion you are looking for, talk to your
subjects about your creative vision for the images. Like a movie director, you
will have to prompt the subject to express the emotion you want to show.
Calmly give the woman several verbal cues regarding the emotion, all the
while watching for small nuances that will help to keep the emotion real. If
CONNECTING WITH YOUR CLIENTS 15
-yoTTarc telling a mother to relax and be serene, for instance, make sure tiiat
her shoulders are not held too high or rigid.
When \'oii direct the subject, physically show them where and how to pose.
Step back and let them try your pose, Once you walk back to the camera
area, refine the pose verbally and by demonstrating with your hands.
Quiet Encouragement. With pregnancy photograpiiy, the goal is to de-
pict the mother's beauty and nurturing qualities. To evoke this mood, you
will w ant to maintain a calm and quiet demeanor. Then, simply connect with
your client using your tone of \()ice and posture to elicit the expression you
want. By keeping the tone of the session low key, the subject can engage in
her innermost thoughts.
Candid Moments. Some subjects may almost intuiti\el\' present them
selves in a tlattering way. When the moment is right, simpk capture a series
of images of the mom being "in the moment."
Whatever your approach, remember that your client cannot see what you
are seeing through the camera. Be sure to describe the beautiful scene, com-
ment on how flattering the lighting is, and express how well the tabric en-
hances her skin tone. Paint a picture with your words, all the while instilling
confidence.
These candid images show a tender moment be-
tween the pregnant mom and her child.
The client had a very clear vision of the images
she wanted, and after discussing her concept and
learning about her family situation, the client's
living room was selected as the best location for
the session. A thin diffusion fabric clamped over
the window provided privacy and created soft
window light similar to the light quality output
by a softbox. To soften the lines, add interest,
and create a more modest image, brown and gold
tulle was wrapped around the woman. The fin-
ished image was one not envisioned by the client
but developed by moving around the client during
the session.
PHOTOGRAPHING NUDE SUBJECTS
Working with j nude subject presents several challenges for all photographers,
male or female. Before beginning the session, make sure you've culti\ated a
comfortable relationship \\'ith the subject. Also, be sure that you fully im-
derstand what she wants to achieve during the session and what she is com-
fortable with. L'sually it is the client wIk) wants the nude images, and so she
will be fairly comfortable with posing.
Next, you will need to determine the best kication for the session. Keep in
mind that nude pt)rtraits taken at the woman's ht>me will improve her com-
fort level — and yours as well. As discussed earlier, the comfort of the woman
is imperative to the quality of the finished images. The emotion And realism
depicted in a nude portrait is directly related to the subject's peace of mind.
CONNECTING WITH YOUR CLIENTS 17
Working with ait Assistant. Ha\ ini; an assistant on hand u hen working
u iih niidc subjects is a good idea tor feniale photographers, and for the male
photographer, a female assistant is a necessity. Your assistant can hold reflec-
tors, drape fabric, and even help dress the subject.
Use Verbal Directions. It is important to irse verbal instructions .\nd not
touch the subject to direct the pose. For both male and female photogra
phers, keep a appropriate distance from the subject, relying only on verbal di- Left— With the aid of an assistant, this "nude"
rections. Haxing a strong foundation of different poses that work in the nude ^^^^^^^ty image was created at the subjecfs
... , " . ,^ J 1 .1 1 •^ home. Below-Never touch a nude subject When
wi mo\e the session a ong and rcla.x the siib)cct. h^i^.n^ th.m ,, n . ■
^ ' helping them pose. Demonstrating the pose or
Watch the Details. While capturing the image, be sure to keep an eye on ^-^p^y ^^^^^^^^ verbal instructions is a more pro-
the details. 'I'he smallest mistake in positioning the subject cm ruin the abil- fessional option.
i
Top— Asking the young sibling, "Can you hear the
baby?" and having them listen to Mom's tummy
can produce a whimsical expression. Bottom-
Terrible twos are always difficult, and sometimes
the only thing you can do is to reign the toddler
in with the parent's help.
jm. \
ity to use the image. Take speeial care tt) ensure that areas of" the bcxiy you
do not wish to show are covered by the hands or the position of the legs.
Consider using fabrics of varying weights and textures — trr perhaps a robe.
These options can prtnide the required coverage and a dose of texture in the
image.
CONNECTING WITH CHILDREN
Increasing Your Odds. When your client''s children are to take part in a por-
trait session, there are a few tips you can use to increase your otids of creat-
ing great, salable images. At your first opportunity, get down to their eye
level, introduce yourself, and talk directly to them. Start off with happy,
friendly, but very calm conversation. Your behavior will set the tone of the ses-
CONNECTING WITH YOUR CLIENTS 19
sion for the child. Next, let the child watch you set up the studio equipment
while being held in the arms of a parent.
Wlien it's time to begin photographing a mother and-child portrait, re
member that keeping the child close to mom will foster the feeling of pro-
tection. Step back and let the child interact with Mom naturally, while you
quiedy capture those moments.
Eliciting Expressions. Capturing great expressions u hen photographing
children takes practice and patience. We all should be able to hold a squeaky
toy, tell a joke, or just act silly to get a big smile. The hard part is v\ hen \<hi
want something thoughtful or just plain adorable.
Sometimes the best miages happen when you stay calm, just let the sub-
jects be themselves, and capture the moment. Working in the home can be
advantageous when small children are a part of the session-babies and tod-
dlers are always more at ease in the familiar surroundings of their homes.
Working on their turf can allow you to capture calm, sweet, and tranquil
expressions.
Whether it's fate, the temperament of the child, the relationship bet^vecn
the child and parent, or the baby is sick or teething or just not feeling well,
there will be times when nothing you try will help you to get the child to co-
operate and reward you with great expressions. In those situations, be flexi-
ble-and if need be, stop the session and try it another time. It would be
prudent, however, to hand the child off to the father for a few minutes while
you quickly capture a few images of the mother by herself, as vou may not get
the chance again.
Left— Sometimes having the child touch or lis-
ten to their mom's tummy makes for a great, ex-
pressive image. The little girl in this portrait
appears hesitant, not sure about all this, but
wanting to be close to mom. Right— For the
young sibling, Mom's pregnancy may not be the
best time. In this image, the child's expression
sends a clear message about her take on the preg-
nancy. Conversely, the mom's expression conveys
her contented state of mind. Facing page— Keep-
ing the child close to Mom and Dad will ensure a
calm, secure child.
20 THE ART OF PREGNANCY PHOTOGRAPHY
3. PROPS, FABRICS, AND BACKGROUNDS
Pi\'iiii.iiK\ \s .in iniportaiit M.igc in ihc luini.ui ivpcncntc, .inJ n shoitM
he the v,o.\\ otihc photoiiraphcr to do more than sinipiv liotiinvcnt this
phase ittthc suhjcct's life. It should be xoiir i^o.il tc» ere.ite portraits that e\
press the suhjeet's mood, her luiriunng ^luahties, mh\ the iiuiet anticipation
L t'ft— It s easy to create romantk and fanti^i
lijes when incorporating beautiful, richly coioi
and textured fabncs in your portraits, i
Flowers and fabrics are the simplest i
appropriate additions to maternity
Keeping props simple allows the viewer to fcj
their attention on the focat point of thtf
the radiant subject.
S.AbM
' pm9
Top— Selecting fabrics that harmonized with the
subjects' skin tones and arranging them for the
clients to lie on provided a great base for the
image. Next, a background with the same tones
was added. These simple steps can add tremen-
dous impact to the image. Abovt— Selecting fab-
rics in the same color family keep the viewer
focused on the reflective, nurturing mood exhib-
ited by the subject.
of the birth. The portraits should iiavc a storytelling quality and should be
fi'ce from ohjeets that date the image.
hi this chapter, we'll take a look at some props, fabrics, and backgrounds
that work well for pregnancy portraiture and add interest in the portrait with
out detracting from the \iewer's focus on the subject.
PROPS
Props ha\e been used b\ photographers for o\er a centLU). Unfortimately,
photographers can become so enamt)red with the oseruse of props that the
main objectixe of the image is lost. Props should always be used to enhance
the image and should never distract the viewer's attention from the subject.
Again, simple is better when adding any element to an image, and it is espe-
cial Iv true when using props.
Flowers are one of the most suitable props for maternity' portraits. They are
associated with feminine beaut)' anti also svmboli/.e growth and new begin-
nings. Having several types and shades of silk flowers on hand is a quick and
easy way to add interest in an image.
Antique furniture and other objects that hold sentimental \alue for the
subject may also be consitiered, so long as the objects do not date the image.
Keep in mind that any furniture incorporated in the portrait should be darker
than the subject and should not reflect the light. A quick visual scan of the
overall scene should help you to identity and remove any distracting elements.
PROPS, FABRICS. AND BACKGROUNDS 23
FABRICS
There arc thousands c.ftabrics available todav, but onlv those .ha, are th-n,
ti^ht^ve.^ht, and have texture vv.ll work well as arnre tor vot.r sL.b,eet. Scu.ve
oHhe ,iK>st efctive tabries tor draping over ^nd arotnul the Inn.an torn,
are uat./e, tnlle, nn.hn, s.lk, crepe, stretch velvet, and chttlon. In the past, the
color selection avaUable tor each of these labnc tvpes was rather hm.ted.
Todav, nuislm is not just ava.lable in the traditional beige bL,t .n ntnnerous
colors too. For unique colors and textures in tlibrics, look bevond the fabric
stores and unest.gate upholsterv shops. With the uide vanetv ot fabrics avail
able, vour options are liniired onlv by your imagination.
Gauze. In the nght-hand image on the facing page, the mom was u rapped
in moss green gau/e, which harmonized beautitiiilv u ith the background and
flowers. The t;U>ric was wrapped tightly around her to show off her small fig
ure Mu\ the perfect shape of her midriff.
Tulle. If you plan to imest in onlv one tvpe of fabric, tulle would be your
best bet. Tulle is a soft, netdike material that is traditionally used for making
wedding veils and dresses. It is also incredibly inexpensive and comes in a
wide array of colors.
Because it is lightweight and rhm, tulle is perfect tor xvrapping around the
bodv. It can also be used to add dimension on the set. Randomly spread the
tullc in uneven horizontal lines from the camera view. Ihe tulle should ere
ate an undulating line to enhance the sense of depth in the image, as is shown
in the left hand image below.
^
Tulle can be used to drape the subject's body, but
don't overlook the option of using it to add di-
mension in the overall image. The left image
shows the effect of covering a bed in mounds of
swirling fabrics. The right image shows how drap-
ing the fabric across the subject added interest
and created a leading line that draws the viewer's
gaze to the subject's face.
The poses selected for these subjects were iden-
tical, but the different fabrics used in the images
create two very different moods in the portraits.
I'lillc can also be used to coxcr or Lrcatc transition points in an image.
Placing liille at the point w liere the background and floor meet, tor example,
can give a finished look to the image. Dark tulle cau be used to form a natu-
ral vignette around the edges of" the image area. With the subject lying dow n,
use the tulle along all the image edges to draw the \ icuer's eye directly to the
subject.
BACKGROUNDS
By layering traditional canvas or muslin backgrounds u iih .in interesting, tex-
tured fabric clampetl over the backdrop, you can create depth and interest in
the portrait and create enhanced mood and dimensionality. Make sure that
an\' fabrics to be added to the portrait complement the subject's hair and skin
tones and harmonize with the subject's clothing and any props. Once the
background fabrics are chosen, you can add supplementary fabrics of similar
shades, draping them over the background and using them to vignette the
subject.
PROPS, FABRICS, AND BACKGROUNDS 25
Upholstery fabrics, many of'uhich arc patterned and/or textured, though
too stitTand heavy tor use in draping tlic client, are perfect for creating an in-
teresting background. lacquards and other fabrics in botanical prints can work
well for maternity portraits. Alternatively, a 3x4-foot or larger throw blanket
or rug can be used as an interesting background.
► CLIENT TESTIMONIAL
"The joy I felt within my soul for nine
months was captured that day with a
photograph, and it will stay with me
forever."
— Shawna M.
Top and bottom— An advantage to working in
the client's home is that their personal belong-
ings are at hand and can be easily added to the
portrait. Facing page— A simple tapestry was at-
tached to the existing backdrop using clamps in
order to create an interesting, textural backdrop
for this beautiful subject. To widen the area
behind the subject, tulle was used on the left side
of the image.
4. POSING
In photographic print competition, posing is one clement that jumps out
at the judges. An aw kward pose will destroy any chance an image has ot
earning a high score.
Poor posing is also readily e\ident to the general public When the subject's
pose appears unnatural, the \ icuer will teel uncomfortable, even it they are
not sure what it is that is technically wrong with the image. C^onversely, when
a photographer is able to capture a natural-looking pt)se, the viewer will be
drawn into the portrait and will feel a connection to the subject.
Posing is an art in and of itself Some people are born w ith the innate abil-
it\' to position their subjects and immediately see comfort M\d grace in the
pose. Then there are those of us who need to study, practice, and experiment
in order to portra\ our clients in a wa\' that looks natural and »«posed. There
are many steps to learning good posing techniques, and the sections that fol
low will outline a variety of techniques you can use to improve that aspect of
your portraiture.
► CLIENT TESTIMONIAL
"This was a unique and spiritual
experience that provided me with a
special bond with my unborn daughter."
— Ann-Marie H.
THE HISTORY OF POSING
From the beginning of time, people have created artistic representations of
the human form. From cave drawings, to Renaissance painters, humans are
fascinated with depicting one another. That fascination continues for pho-
tographers and their clients today.
In the early days of photography, excruciatingly long exposure times meant
that portrait subjects had to hold a pose to ensure the success of the image.
Today, advances in technology' and a host of automated features allow us to
easily capture an image in the blink of an eye! Posing, however, is one aspect
of portraiture that still requires the photographer's attention and direction —
and always will.
CONCEPTUALIZING THE POSE
Body language is a form of communication, and you want your image to
communicate the right message! When we think of a pregnant woman, we
have thoughts of motherhood, love, affection, protection, nurturing, warmth,
and tenderness. Today, with mothers taking care of their bodies and our in-
28 THE ART OF PREGNANCY PHOTOGRAPHY
Facing page— Nestling the mother and fati
together created a feeling of security, love, an
anticipation between the couple. Their tende^
interaction helped to tell their storv.
creasing societal appreciation t>f the heanty of the pregnant female lorni, we
also see niotlierhood as a time of beauty. Vou might wish to convey any of
these moods or teelings in \oiir portrait. This time in a woman's lile is Meei
ing and \ery ditterent tVom am other stage, .\nd it is a prixilege to record it.
Make it \iuir goal to capture genuine emotion during the shoot.
THE BASIC POSE
A good pose is oni: that is llattering to the subject .uu\ provocative to the
viewer. Ihere are man\ poses sittmg, standing, or King that can easily
meet this goal.
Standing. Photographers alwa\s seem to first tackle photographing a preg
nant woman b\ having her stand upright. The assumption is that it" she sits.
A good pose is one that flatters the subject and
is provocative to the viewer, The details of the
posing approach used to create this portrait are
outlined on page 31.
30 THE ART OF PREGNANCY PHOTOGRAPHY
Left— :^s. -.. , create a nurturing mood in
the image by having mom place her hand on
tummy, holding and loving the expected baby. In
this image, the mother held the flowers lower and
to the side so that the view of her tummy is free
of obstruction. Right — Many photographers pre-
fer to begin the portrait session with a standing
pose, and the technique illustrated here is a good
option. The image was created using a single light
and a reflector. The mom was asked to turn her
body toward the main light and place her left had
at the upper area of her tummy and her right had
at the lower area. Her chin was angled toward her
near shoulder. The intimate feel of this image is
due in part to the fact that the subjects gaze is
not directed at the viewer; creating a profile of
the face or having the subject look at the camera
would produce a different look.
tlic vK'\scr \\ lit not liilK sec the licx (. u »pc*.i iiikii il i VV iim. a Nt.ituliiiL!. post *.aii
he a g(M)d pl.icc lo st.iri \oiir session, voii nia\ tiiul that the desit;n aukS !]<)v\
ot the iinai;e is most JittRuh with a single siaiuling suhjeet than with nuihi
pie cheiits or a seated or Kinu pose
\\\ iinai;e ol the niotlier alone will he more Jvnamie it'voii take the time
to consider the hest possihle plaeement ot the hands, arms, and taee.
In the inia^e on the taeing V'^^^^ t'l^' mother's arms w rap around Ani.\ hold
her tummy, mu\ she looks awav with a thoui;httul expression on her face.
Note the serenitv and [nnse that iseoineved h\ the suhjet. t\ stanee. The por
trait shows the suh|eet\ si length and eonientment lo create this moiKl, the
suhject\ hod\ was turned a lew degrees awa\ from the camera. She then
turned her upfXT hody toward tlie camera and turned her tace toward the
liu.ht I he position olher hands imphes a sense ot" protection, Bv turntnt; her
hod\ slii;hil\ .iwa\ Irom the direction ot her tect, a sltmminu eltect was pro
duced. AdditionalK, tuiiniiL; liei ta*.e awa\ trom the direction of her hod\
produce*.) the desiretl S curve in tlie imaue. ( lor more on S curves and (heir
role in portrait desii;n, see cliapter S.)
POSING 31
Laying. The mothcr-to be nuiM he portr.ixed in ihe most relaxed, beau
titui manner possible. When the mother is relaxed .\ud surround bv props
like soft pillows and beautiful fabrics, vou ean eapture something that tran-
scends conventional pregnane)' photos. In the past, many pregnancy portraits
were taken with the mother-to-be in a standing position with the tocus pri-
marily on her midritT. However, that isn^t neeessarilv the most comfortable
or aesthetiealh- pleasing position for the subject. One of the most beautihil
ways to photograph the mother is with her King dow n in such a position that
the woman becomes more relaxed and serene. From a technical \iewpomt,
her body is more elongated and appears thinner.
Photographing a client in a Lying pose elongate
her body and makes her more comfortable. It's a
win-win situation.
When posing the subjects, directing the gaze of
your subjects can help tell the story. Here the
mother and the older sibling are looking off to-
gether, as if they are looking to the future as a
loving and supportive family.
Create voiir scene wiiii lu\umfiil fahries in colors that complement the sub-
ject. Then have her lie down in tlie middle ota bed or on the floor (note that
it will be easier tor \our late prei;nancv clients to get up hoiii tlve bed than
from the lloor). Place her legs m a slight bend, w ith lier arms relaxed .md her
hands focused on her pregnancy.
Good posing oFthe liands is critical, as the hands express emotion. How
:hk[ where you pc.se the hands ^-.xn make an inuiiense dirierence in ihe over-
all quality ot the pose and the message vou are trvmg to coiney m the image.
POSING 33
Ihc hands can speak xoluincs ahoiii
the Icnc the moihcr has (or the hab\,
and hands toiicliini; between a eouple
tell about their shared io\e .\nd antici-
pation. Additionally, the position of
the hands, or the leading lines formed
when a couple joins hands, can create
the needed compositional elements
that add polish, guide the \ie\ver\
gaze through the image, and create a
dynamic feel in the image.
Making the posing of the hands
look natural can be difHciilt for some
stibjects and photographers. One eas\
method is to ha\e the hatids geniK
holding on to something. The mother
can gently grasp the edge of the fabric
she is draped in, or hold a bouquet of
fl---'-V <"- -.plv rest them on her tummv. Make sure her hands are no, po Havu., the hands posed around the baby-to-,
situmed in the center o| her tummv area but are placed side to s,de or top to conveys a sense of protection and nurtunng.
bottom. li the mom\ hands look unnatural, ask her to nke her hands off,, f an image of the hands and tummy, an interestini
her tummy or let go of the object she is iK.lding for x few se on \ \\ \'' """^'"^^ '^ ^^'"^^^ heiv^een the mature adult
the hands back. Manv tunes this will a-Milt m ;more nJr^Z^, 'Z!^ Z '"'' "' ''' "'"'''" ^^ "" '''
34 THE ART OF PREGNANCY PHOTOGRAPHY
A standing pose is not your only option for pos-
ing your pregnant subject. As shown here, a
seated pose can be elegant— and it may actually
provide your client some relief from an aching
back or knees.
be times, houcser, when you will ha\e to denionstnte with your own hands
the position you w ant w ith the tint;ers in .md the placement you are seeking.
Keep in mind that a tlattering hand pose is one in which the fingers are
spread slightly apart and bent away from the camera. Avoid having the back
of the hand squarely pointed at the camera. Also note that the pahn should
never be taced toward the camera. If a hand is held aw a\ from the bod\, have
the middle finger bent slightK' more than the other fingers. This position is
used bv bailer dancers w hen the hand is held away from the body, and it pro-
duces a gracetiil look.
You can capture the image with the camera pt)sitioned b\' the feet or the
head; cither perspective can result in a breathtaking presentation.
Seated. By ha\ ing yotir seated subject posed with her back straightened,
\'ou can present a full view of the mattire pregnanc\'. In the image below, the
mother is beautifulK' portraved as she sits w ith her legs bent and to the side.
The carefully designed lighting setup cast more ilkimination on the molher^
left side, leaving part of her form in shadow. This allows for a slim, smooth
presentation of the body. Turning the subjeet^s head to the side brought her
striking profile into view. With her eyes closed, a sense of calm and serenity
was achieved.
PERSPECTIVE
To create the dramatic perspective, try photographing the subject from sev-
eral angles. The simplest change is to shoot from a lower camera angle. Once
vou have the mother in a lying position, drop the camera down to right above
her head level. Take care to arrange her bodv in a tlattering pose, with knees
slightlv bent, hands on the bod\, and head at a tilt. Looking through the
viewfmder, make sure lines of the body lead the viewer's gaze from the left
side of the image, to and across the graceful lines of the subject's body, .md
to the other side of the frame.
You can also consider creating an image from abo\e the subject. When the
mother or couple is sitting down, stand directh' abo\e her or use a ladder to
get a fresh perspective. This viewpoint cm slim the subject and make her
midriff the focal point of the shot. Adding dramatic lighting from a single
source so that the light cascades down the side of the subject can create a
calm, quiet mood in the image.
You can also capture .\n image that shows the mother's perspective. By
standing behind her .md photographing over her shoulder, vou can capture
her hands — or the couple's hands if you're photographing the mom .\\\d
dad — around the tummy.
CORRECTIVE TECHNIQUES
Every once in a while you will need to photograph a mother who has gained
more weight than she would have liked. To flatter the subject's face, select a
pose and camera perspective that allt)ws her to lift her head and push her chin
Left-rhis image of a couple has a unusual f
as the point of view is from above traveling
the embracing couple. Facing page-Her "
unusual angle, from, the top of the mother do*
creates an interesting and artistic perspectivJi
the image.
36 THE ART OF PREGNANCY PHOTOGRAPHY
vcrv slightly torward. Capturing the image from aUnc will also help to down-
pla\' the double chin Mid give her a regal look.
As many pregnant women put on weight, they become increasinglv self
conscious about the si/c oftheir upper arms and thighs. To ensure a slimmer
presentation, have \(>ur subject position her upper arms slightly away from
her body, not pressing against her side. Providing a little space between the
knees will \isually slim the thighs.
(Consider using fabrics to hide or reduce the apparent width ot the arm or
legs. Remember that while tulle is perfect for hiding imperfections, it should
not be used to completeK cover the subject's skin.
Left— The lines of the mother's and daughtei
bodies form undulating lines that draw your eye
across the image frame. Facing page— For a very
dramatic image, move to a nontraditionai posi-
tion. Here, capturing the image from above, plus
having the mother's face follow the line of her
body, created an unexpected image.
3K THE ART OF PREGNANCY PHOTOGRAPHY
->gl
iting your overweight subject From one
dcwill visually slim iHc hodv
and face, as the eye \\i
and will not linger on the shadow areas.
11 be drawn to the well-illuminated areas of her form
•
POSING COUPLES
Photographiiig the mother and dad together is one of the most rewarding as
peers of creating maternit?.- portraits. The couplcN joy, lo\e, and anticipation
is intoxicating— especially with the first child, I he portrait session allows \()u
to capture .m artistic representation of their love and union.
There are actually several ways to effecti\elv pose the cc»uple. Vou might
Starr b\' ha\ ing the mother standing, and simply ha\e the father u rap his arms
around her from behind. The camera angle can be from the front or side.
This pose will work best if the father is taller than the mother. For a traditional
look, have the tather stand beside the mother, with one arm around her back
.\nd the other hand placed on her belly .md meeting her hand.
Vou can also take the opportunit\ to create artfulK st\1ed images of the
couple King down. I'here are main advantages to selecting a King pose. This
An image of the father and the tummy (
illustrates the emotional connection the fat"'
has with the baby.
40 THE ART OF PREGNANCY PHOTOGRAPHY
Top — Note the way that placing father's hands
on the mother's tummy creates a connection be-
tween the couple and emphasizes his connection
with his child, as well. Bottom— In this sweet
image of the father kissing the mother's tummy,
the story is about the baby and dad, and the
mother becomes the "prop" or accessory to the
image. This image was simple to light, with a
large sliding glass door in the couple's dining
room area. Notice the position of the couple's
hands, touching in a loving way. The physical
connection is important to the overall feeling of
the image.
position is more comtoi'Liblc tor the mother, olauirsc, but ii can he relax
ing to the fluher as well. Many lathers are not initially agreeable to being pho
tographed. Once vou get the couple lo lie doun together, the father usualtv
relaxes a great deal and takes direction uell. In this pose, it is easv tor the la-
ther to wrap himseirarcnnid the mother. In this position, the dad illustrates
his role of protector and supporter of the mother and child. He <:.m place his
hands on her tummy, and if he's feeling a little camera shv, he can nestle his
POSING 41
head next to the mother's with his e\ es closed. A heavier siih)cei e.iii hti his
cliiii \o red lice I he "double ehin" look.
If you are photographing a man a\k\ woman uh<. are not eomforlahle with ^ START WITH THE OUTFITS
the idea of King do\Mi, von c.m use a seated pose to depiet the teeling of Warm up the mother and especially the fa-
shared intimaey. Start with the mother seated, uiih her knees turned ai An ther by first creating simple portraits of the
angle to the camera. Next, have the father sit behind and slightlv to the side clients wearing clothes they selected for the
of the mother, uith his knees apart so that she can nestle into him. Be sure session. As they become more comfortable,
that the mom ,s not blocking the father^s \\k,. Have .hd wrap his arms -nove slowly into more creative shots using
,,,.,, ,111 11 fabrics and props,
around tiie mother .md gentK place hrs hands on her bellv, arms, or hands.
While the seating pose can work in a pinch, it allows for less \ariety than does
a lying pose.
Left— An embracing couple is a wonderful way to
tell the story of the anticipation the parents have
for the arriving baby. Here the father is taking on
the role of protector with his arms around the
mother and hands on her tummy. Right— A con-
nection between the couple speaks volumes to
the viewer. The couple here are simply making eye
contact, but this simple look tells us so much
about their relationship and love.
In this image, the mother's hand is gently placed
on her husband's head, and his hand reaches up
to rest on her forearm. With the couple's son
leaning on the father, the whole image conveys a
warm feeling of family togetherness. If you look
closely at the image you will also notice a series
of triangle patterns through the arms and heads.
The repeating patterns give the image a feeling of
harmony.
Another favorite pt>.sc for couples is an iniai;e of the haby to be with the
father. This pose allows yoii to showcase the relationship between the father
and baby in a way that incUiciing a fuller \iew t)f the mother docs not ac-
coniplisli. Adding an older sibling or siblings to the daddy-and-tummv pose
can also doeimicnt the family dynamics and show the family members' sense
of jov and anticipation.
While the subject is the pregnancx, evidence of the mother is ver\ impor-
tant even w ith the father or siblings in the picture. By ha\ ing her hands loitch-
tng her belly or the other subject, you will create a loving and affectionate
mood.
hicluding the children will often make for a cheerful, fun image. How
ever, including kids in any portrait session presents some unique challenges.
We'll review some strategies for working with children later in this chapter.
Coaxing Dad. Some fathers are resistant it) the idea of participating in
the session. This is another benefit to conducting the session in the stibject's
home, as the father won't have to be coaxed into going to the studio. Despite
their hesitation, fathers surprisinglv turn out to be one of the biggest enthu-
siasts once vou get them involved. .Start with asking tlie father to be vtiur
"helper," getting him activelv involved in the photographic process before
POSING 43
you pur him in froiu of the camera. Fathers can help witli e\crytliing from
getting a pillow to mo\ ing Furniture to holding reflectors, When the father
fecLs like he is assisting he has a tendencv' to relax dnd takes a personal interest
in the outcome of the images.
POSING WITH THE CHILDREN
Working w irh children is always a challenge. With the d\namics of the fam-
ily changing w hen a ne\\ hab\' comes, the photographer needs to he sensiti\e
There are those moments that make it all worth-
while, when everything comes together and the
magic happens. Here, in a split second, the child
and mother forgot where they were and expressed
their love and affection for each other. Only in a
relaxed and "safe" place can the client and sub-
ject let go and become completely natural. When
this happens, the photographer only has to cap-
ture that moment.
4
44 THE ART OF PREGNANCY PHOTOGRAPHY
Your best defense when photographing young to anx' anxict\' llic Lliildrcn may be tl'cling. 1 ia\ ing them participate in the ma
subjects with their pregnant mom is to position ^^^.^^■^^^. ^^.^^^^^^^ ^^^^^ y^^ ^^ wonderful way to celebrate this impending change
them close to mom, establish the mother-child , , , . , , , ., ■ i i i r i « ■
, , , ...... while showinu the older children how important thev are to the family. Bcint;
connection, and make them feel that they are a *- ' • ■ ^
critical element in the portrait. plavhil \\ ith the children u ill go a long w ay low ard helping you ensure an en-
joyable session.
Toddlers and Preschoolers. Often the session will include a young child
(or multiple young siblings). The greatest challenge will be the toddler to
preschooler. Letting them feel like they are the most important part of the
portrait session will go a long v\ay toward getting them to cooperate. For the
younger child, keeping them close to the mother and either embracing her
or being embraced b\ her may be the onk means to capture the mother and
child in the same frame.
Five- to Scvcn-Ycar-Olds. Take care with little bovs, and sometimes girls,
around five to seven years ak\. At this stage they may make silly faces when
you ask them to smile. One way to get around this is to ask them to smile
without showing then teeth or to gi\e \(>li a soft or little smile. Ha\ing the
little one lean against his mom's tummy can also help to make for a calmer,
more peaceful suli)ect .md great expressions.
Older Children. When older children are to be included in a family por-
trait, it is best to handle them as adults. Pose them with the mother similar
POSING 45
to how \()u would pose a spouse. The ditticLiU)' lies with ha\iiiL; ihc t.iees and
the center of attention— the expectant mother — all together in one frame.
POSING GROUPS
One way to really tell a story is to capture the emotion and relationship in a
family. With all the complex dynamics that go on in families, an effcctiv c pho
tographer is one who can put the subjects at ease and capture the interplay
of tlie different personalities. Takinu, the aho\e mentioned steps towanl cre-
ating a relaxing, calm altitude .md environment will go a long wa\' toward
helping you capture those precious moments.
Also, by giving individual attention to each subject before and during the
session, you will establish a relationship with every family member, lake a
46 THE ART OF PREGNANCY PHOTOGRAPHY
This family group includes thirteen-year-old
triplets— and capturing them with their mother
was a challenge. Here the solution was to place
all of the subjects as close as possible with the
mother sitting down.
Lots of coaching, talking, and encouragement few iiiintitcs prior tt) beginning tlic scssiun tt) explain \v iiat your ideas arc and
helped these children relax and elicited joyful |^^,^^. ^.^^^,,^ individual is critical to the Hnished artwork. This will produce an
sweet expressions. Sometimes, having a small
,.,, , ,. ■ . J ^ attitude ot cooperation.
child anchor his or her head against mom can '
help calm the young subject and ensure a calm, 'l"<i produce intimate relational images oftaniilies, the indi\idLials w ill have
beautiful expression. Such was the case with the to be positioned closer together than is ciisioniarv, l-xplain to \()ur subjects —
boy in this portrait. ^^,^^^ ^1^^,^^, ^j.,^.,^^ ^^.jj]., ^ ^,^,,. h^^nds— how close thev will be, emphasizing how
the finished image will look. It's helpful ai thi's point to joke a little with them
to break the ice and help them rela.x.
GAINING EXPERTISE
Learn i'von\ the Masters. One of the best a\enues to gaining an under-
standing ot posing and developing a cache ot e.xcellcnt posing ideas is to study
well known paintings and photographs. Paintings by Leonardo d.\ N'inci,
Michelangelo, .\nd other prominent artists depict the hinnan torni w ith grace.
\\y seeking to replicate a simple till ofihe head or the extension ofthe hand
as seen in a painting, you can learn how to create a pose that will appear nat
Liral Awd llaiiering. lliough posing may not come naitirallv in vou tVom the
outset, as you work with your subjects ^wd experiment, .md practice your
skills, youMI tlnd that posing yt)ur clients will become almost intuiti\e.
POSING 47
Top and bottom— One of the best ways to Learn
good posing positions is to watch other photog-
raphers work with clients and models. Facing
page — Here the family was so relaxed and com-
fortable during the session that they were more
than willing to touch closely.
A second way to develop good posing technique is to studv the work of
other photOL!,raphers. Fxperienced portrait photographers establish a reper-
toire of poses that will help them to accomplish a desired look. While ob-
serving another photographer working, take notes on the sLibject\s stance
and posture for ttitiire relerence.
Observe Dancers. Dancers are masters of using their bodies for self-
expression, and their grace in doing so is immatched. Thotographer I.ois
48 THE ART OF PREGNANCY PHOTOGRAPHY
Greenfield is kncm n tor her stnkini;lv beaiiiitiil imai;e.s ofdaneers in motion.
Ifvou evanime her work, you u ili find luindieds ofevamples of hand posing,
taeial expressions, and bodv movenieius that util inspire voiir posing work.
Create a File. Manv photographers make it a habit to browse through
magazines and eatalogs in order to ereare a Hie of their fivorire poses. I1ie Hie
ean serve as a handy referenee when working with a mode! or siibjeet. Bv
using your office copier to reduce the si/e of the images to fit on 3xr> cards,
\c)u can easily store them in vour camera bag, pocket, or purse .md re\iew
them ulien noli need inspiration.
Posing Books. An ob\ious option for cultivating a better understanding
of the subject of posing is to consult one of the many books devoted to the
topic. Bill Hurter's Portrait Photofiraphcr's iritidc to /W;//7 (Amherst Media,
2004) IS An excellent resource that features poses that many of the industry's
pros favor, from classic to cutting edge. Hurler details e\erything from basic
posing, to posing groups, and corrective posing techniques. Professional Pos-
trijj Techniques for Weddinjj and Portrait Photojjraphers (Norman Phillips;
Amherst Media, 2006) and Posinjj Techniques for Dijjital Pljotojjrnphers{]cfY
Smith; Amherst Media, 200S) are equally good resources.
Design Principles. Developing a feel for the shapes and \isual patterns
that are considered aesthetically pleasing can also help \'oii to make the most
of ever\' pose and overall image composition. These principles will be dis-
cussed in the following chapter.
► CLIENT TESTIMONIAL
"Wow! Jake and I were awestruck at how
amazing the pictures turned outl We can't
wait for everyone to see!"
— Stevie S.
Once you have a series of successful poses, you
can improvise and easily add images that feature
great expressions you elicit from your subjects.
In similar poses shown in this book, the male
subject is shown with a serene, contemplative ex-
pression. This portrait was made to capture the
whimsical expression and sense of anticipation
that shows on the father's face.
50 THE ART OF PREGNANCY PHOTOGRAPHY
5. COMPOSING THE PORTRAIT
The iniportancc of composition in creating maternity portraits should
nc\ cr be underestimated. Think of composition as a road map that view-
ers will use to reach their destination — .m appreciation of the beautv of \-oiir
subject. Some of ihe important features of this map include the subject's re-
lationship to another subject, to the light, and the angle of view. Also in-
cluded are the relationship between the hands, face, bodv, and legs of the
suhject^as well as any props used in the image.
Hesign is similar to posing; it has to be practiced. Take the time to read
books on the topic, take a foundational class on design, stud\ well known
paintings, and analyze portraits created by photographers you admire. In the
beginning, take practice images with willing models. When you are working
with subjects, strive to perfect the composition— don't allow the image to
just happen. By working on your compositii)ns, you will also enhance yt)ur
creativitv.
In order to create balance in this image, the cou-
ple was placed side by side. With the mother
being much smaller than the father, she was
placed both closer to the camera and in front of
him. The effect was further enhanced by ensuring
their heads were aligned and bodies were posed
in a similar direction.
BALANCE
Balance is the \isual aspect of an image that creates a feeling of harmony— a
sense of equilibrium mu\ an even distribution of weight— in the composition.
COMPOSING THE PORTRAIT 51
CDmposi
linn can tc.iturc objects tliat arc c\cnlv spaccc
.1 or of the same sr
it ion a scc(
>ndarv sub-
and weight. Altcrnativclv; vou can Add ro the composition a
jeci that is similar to the main subject in color or size.
It mav seem as ifachieving visual balance in an miage with two sub)ects
with a height difference of more than a foot would prove diffcult. However,
bv King rhe couple dinviu the difference in height was quicklv and easilv di-
minished, and balance was achie\ed.
»
RELATIVE SIZE
In a portrait of two subjects, the person who occupies the bigger portion ot
the frame will draw the Mcwer's gaze. The father in the image on page 51 is
physically larger. Because we wanted the belly to be the focus of the image,
we placed the mom in front of the father. In this position, she obscures much
of his large frame and gains visual prominence. The height discrepancv also
allows us to have liim wrapped aroimd llie mom to suggest a sense ot unity
and protection. This helps to build the storvtelling qualitv of the image.
'I'hough vou might deduce that the largest subject m the frame w ill always
draw the viewer's attention first, there is an exception to the rule: in a family
portrait of a standing woman, man, and child, the smallest subject will draw
the viewer's eye first. You can capitalize on this phenomenon bv composing
a standing image of the family so that the height discrepancy is highlighted.
This can be useful when you want to document the wav the small subject is
feeling about the pregnancy and impending birth. If vmi want a portrait in
which the subjects are more or less equally prominent, you can seat the
mother and father and have the child stand close so thai the three subjects'
heads are mt)re closely clustered together.
RHYTHM
Rh\'thm IS created by using repeating elements in an image. Though the por
trait above features only two subjects, the lines of their bodies create rtivthm.
Note how the repetition of oval-shaped eM
ments-the woman's head, chest, and tumiT
and the man's head-create rhythm in the imag
52 THE ART OF PREGNANCY PHOTOGRAPHY
The eye is curious about and drawn to subjects
that are not centered in the frame. An off-center
subject also leads the viewer's gaze across the
frame. In this image, the face of the mother, the
main element, is placed in a one-third area of the
image, the hands are placed in another, and the
midriff fills another.
Notice tlic repeating triangles formed by the mother's arms and tiie repeat-
ing circular forms of the heads and belly. These rhythmic elements give the
image a sense of movement.
RULE OF THIRDS
The rule ot thirds is a compositional tool long used by photographers to de-
termine the most effective subject placement. In essence, the rule states that
subjects are more visually compelling to viewers when placed one third from
any one of the outer edges ( hori/ontalK, \ crtic.ilK, or both i of ihc tranie. To
ensure a more effective composition, visualize a line placed one third hom the
top ot the frame .um.\ another line placed one-third from the bottt)m of the
frame. Ne.xt, visualize a line positioned one third from the left edge of the
frame and another positit)ned one-third from the right edge. When youVe
finished, you should be able to conceptualize a tic-tac-toe grid over the image
frame. Note that there w ill be fotir points at which the \ertical M\d horizon-
tal lines intersect; these are called power points and are thought to be excel-
lent places to position main areas of interest (e.g., the eyes and the timim\').
LEADING LINES
Horizontal, Vertical, and Diagonal Lines. Vertical md horizontal lines
convey a feeling of motion in an image, especially when the lines form re-
peating patterns. X'ertical lines represent stature and strength. Horizontal
lines represent calmness and stability. Diagonal lines can also be used in the
photographic frame to lead the viewer's gaze to the subject. Those of us who
live in the Western world read from left to right. Therefore, as we take in an
image, we tend to start at the left edge of the frame and follow real or implied
lines in the composition tt) \ieu the main subject of the image.
As you compose your image, strive to create lines that lead the eye from
the left edge of the frame, through the image, and to the subject. For in-
stance, posing your subject so that she is lying diagonally across the frame,
COMPOSING THE PORTRAIT S3
with her legs to camera letl, ean compel the \ieuer lo tollovv the line of her Left-The double S curve in this image creates a
1 II - 1 ■ . • 1 I 1 1 i- I .- ■ .1 winding line through the imaqe that dram tha
legs toward her midsection, which should, of course, he prominent in the ^ ^ "^^^ tnai araws the
viewer's gaze to the couples' faces. Right-Note
pregnancy portrait. Angling her arm and resting her hand sottiv at her clim ^^^ ^^^^^.^^ ^ ^^^^^ ^^^^^^ ^^ ^^^ ^^^^^^ ^^
can create another line tor the \icuer to tollow ; this one, of course, would the subject's body and in the positions of her
draw the viewer's ga/e to the subject's face — another Focal point of the image. ^rms.
Note, too, that the overall position of the subject's body, and ht)w it re-
lates to the frame, also impacts the visual flow of the image. For example, a
subject photographed lying diagonally across the frame will appear more dy-
namic than one photographed sitting upright.
S Curves and C Curves. (Uu\ed lines are also \isuallv compelling. Thev
are a natural choice for drawing the viewer's gaze throtigh the image. A
cur\ed line or curved subjects represent gracefulness .\nd tranquilitv. 'I'wo
commonly tised lines are the S ctirve and i. curve.
The S ctirve is .\n ideal design element for composing a portrait of a preg-
nant woman. In the left hand image (above), there is a repeating (or double)
S curve that guides the eye from the upper-left edge t)f the image to the
lower-right area of the frame, leading the eye to rest on the subjects' rela.xed,
content expressions. Their pose also produces a sense of rhvthm and repeti-
tion. The image is full of grace and femininitv, and the rolling lines add a
sense of movement to the portrait that keeps the viewer's eye engaged.
A C-shaped curve is another nattiral choice w hen composing a pregnancy
portrait. In the right-hand image (above), the sweeping curve of the mother's
body produces a gentle C shape. There are also C shaped lines through the
woman's arms, and her hands are placed genilv tipon her tummy in a sug-
gestion of protection, drawing our gaze to her rounded midriff.
COLOR HARMONY
Color has the power to evoke emotion and enhance the mood of an image.
The color blue, for instance, is often used to portray things as cool and re-
mote (just think of the saying, "he was feeling blue today"). Cool colors rc-
54 THE ART OF PREGNANCY PHOTOGRAPHY
The color wheel.
Left— In this image, the main light was placed
near the camera and directed toward the subjects.
Along with the white clothing and background,
the lighting helps to create an open, welcoming
mood for the image. Right — Moving the lighting
to the side of the subjects produced a more
thoughtful mood.
cede in ihc tr.imc. Wnnii colors tend u> li.nc the opposite cNcct on viewers;
lhe\ .ire often used to depict emoiion.it w.irmth .ind comfort, hominess, or
passion. Warm colors \isiiall\- advance in the frame.
W'lien looking at tlie color w heel, we see that greens, hlues, AnL\ purples are
on one side; these are the cool colors. Yellows, oranges, ,md reds are on the
opposite side of the wheel; these are the warm cok>rs.
To achieve the most beautiful image possible, yon will want to coordinate
the colors in the background .md clothing, ensuring that they complement
the woman .\\\d help to create the desired mood in the image. Selecting col
ors that complement the skin tones will create a feeling of warmth .md har-
mony. A majority of people, regardless of their skin tone, look healthx' and
radiant when smTomided by earth tones. Warm tones like gold, brown,
mocha, M\d sienna enhance the gkm oi'the subject's skin. Try using gold
tulle with a mocha colored gau/e .\nd note the impact on your subject's skin.
SUBJECT'S RELATIONSHIP TO THE LIGHT
The subject's position m relation to the light source is a factor in creating
the (nerall mood of the image. Light coming from the camera angle directly
toward the subject will create .m open mood. Light from the side can be seen
as ihoughlftil, and light from behind is dramatic. lust as vou use balance,
size, rhvthm, and other design elements to tell ihe sior\ in the image, you can
use light to compose your image. In the following tlirce images (below and
on the following page), the direction of the light is critical to the nKtod es
tablished in the portraits.
■
Note the dramatic feel of this portrait. To produce'
the effect, the tight was placed behind the sub-
ject. The highlights and shadows keep our atten
tion focused on the tummy.
ANGLE OF VIEW
IFindinjj^ a fresh and different perspective can transform a simple portrait into
a work of art. Once you place your subject in the composition, move around
your subject looking for a unique perspective to capture the image. Keeping
the basic design principles in mind, .md seek out a view \()u would not nor-
mally capture. Moving above the subject, look down a\u\ \'n\\n\\ the lines
of the neck, arms, and hands to the main focus of the image, the mother's
midsection. Alternatively, you can drop down to a lower camera angle .md use
the leading lines formed by the mother's body to pull the viewer from the
bottom left corner to the top right area of the image. It is this creative ap-
;
56 THE ART OF PREGNANCY PHOTOGRAPHY
proach that will take yi>iir iinatics hcyoiul typical portraits a\u\ into more of
a fmc-art realm.
The placement and positioning in the elements in
this portrait draw the eye to the connection the
father has to the mom and baby.
TROUBLESHOOTING
W'hen \(>ii arc workinu, with a client, take the time to step back, look over tlie
scene, .md see it it appears halanced. It will be readily apparent when there is
a Haw in the desiu,n. Hnsiire that your fabric and backL;roLind choices are in
harmony And make the subject's skin appear to u,l()v\.
Move the subject or nio\e around the subject to create rhxthm and re-
peating shapes in the composition. Place key components of the imai;e in the
one third areas of the frame. Determine where you cmi create an S cur\e or
C] curve by mo\ ing the subject's legs or arms or turning the torso the oppo
site direction from the face. Hnsure that these hncs ^nd shapes pull the
viewer's ga/e into and through the frame.
Remember, the use of design elements is imperative to the success of the
image. With practice, incorporating the compositional guidelines t)Litlined
above will become second nature.
COMPOSING THE PORTRAIT S7
6. LIGHTING IN THE HOME
Wc live in a three dimensional world, where the objeets we encounter
have width, length, and depth. l\iintings, drawings, and photographic
images, howe\er, are two-dimensional. To create a feeling of depth, the artrst
must create the highlights and shadows required to sh(tw the subject's
form. Photographers, of course, must learn how to make the most ot their
lighting to accomplish this goal.
In this chapter and the next, weMl look at a \ariety ot strategies that will
help you achieve your lighting goals. Some otthe information presented in
chapter 7 will build on the information that follows, which is concerned
mainlv with using .md modilving window light in the client's home.
HARD VS. SOFT LIGHT
Finding or creating the right quality of light is critical to creatmg a great por-
trait. In portraiture, ue strive to avoid hard light sources. Hard light is direct
light created by a source that is relatively small in si/e It produces hard edged
shadows, bright colors, and bright highlights. Hard light that comes from
above the subject (e.g., midday sun) is the worst offender, as it creates un
flattering dark shadows under the subject's eyes and nose. (Though the sun
itself is huge, its distance from the subject makes it small in relation to the
subject.)
Keep in mind that vou can modif\' or supplement hard light to produce
more flattering effects. Of course, when working on location in the client's
home, vou can simpiv scout out a room with more flattering light, saving
yourself time and energy.
Soft light is ideal for portraiture. Such light comes from a larger light
source (e.g., a large window or a softbt)x). When the sim's position is just
right (e.g., low in the sky, as it is from sunrise to an hour after sunrise and in
the hour before the sun sets), it too can spill onto and caress vour subject's
features, rather than casting the harsh shadows produced at midday. No mat
ter its source, soft light produces paler, softer shadows, and more subdued
colors in your images. It can also enhance the appearance of vour subject's
skin and create a three dimensional feel in an image. In the studio, photog-
raphers rely on softboxes, umbrellas, reflectors, and other de\ices to produce
► CLIENT TESTIMONIAL
"Being photographed while pregnant
was a wonderful experience. It was
my last child, and I wanted to be able to
hold on to that experience just a little
bit. It was a very warm and intimate
experience."
-Shea 0.
58 THE ART OF PREGNANCY PHOTOGRAPHY
soft, directional light. When working in tlic client's home, soft light gener-
ally comes from a large window. However, all window light is not created
equal. We'll look at the qualities of good window light later in this chapter.
► A HELPING HAND
Though the best way to gauge the effects
of a variety of window light scenarios would
be to pose your subject near each window,
this approach is not always practical. Using
an assistant is your next best bet. Should
you find yourself working solo, find a room
where the sunlight softly illuminates the
room. Open your hand and observe the way
the light affects your palm. Move your hand
around and observe the way the light
changes. Where does the light most slowly
transition from highlight to shadow? The
best light will come from the side of the
subject, wrap around, and fall off toward the
bottom and far side of your subject. When
the light has these qualities, it can be used
eautifully render your subject's form.
The beautiful light from a large living room win-
dow created a perfect place to work with this ex-
pecting mother and her toddler son. After moving
through several poses and positions, this image
was captured.
FINDING THE BEST LIGHT
When vou arrive at the subject's house, look for great window light. In many
homes, the master bedroom has a large window tliat can work well as your
main light. I he larger the light source, the more diffuse the tight .md the
softer M\i.\ more llattering the effect. A large window— 10x5 feet in si/e and
3 feet from the ground— can he ideal. .At this height, the natural falloff of
the light cm be used to \()ur advantage, creating a darker area at the bottom
of the image that will help to draw the viewer's eye to the subject.
Look for window light that softly illuminates the entire room. The light
should come from the en\ irt)nment; in other words, be sure to avoid photo-
graphing a subject w hen the sun seems to be lined up with the w indow. Note,
too, that the light should come from the side of the subject (not from a sky-
light or through a glass ceiling) i'his directional lighting will wrap around the
Left— As evidenced in this image, the light!
setup for this image was simple. Facing page—
To create this particular image, a backdrop was
hung, some fabrics were arranged on the floor,
and the subjects were posed close to create a ten-
der feeling in the image. A large window at cam-
era left served as the main light, and a reflector
placed to camera right helped to bounce light
back onto the subjects, filling in the shadows.
ting j
Left and right— Sometimes, giving the couple
some basic instructions of where to lie, and then
stepping away and not interfering, can lead to
capturing a tender moment between them. This
image was captured with a Nikon D2x at an ISO of
400 and a setting of f/3.8 at 'Ao second. The
image was retouched in Photoshop using the
Healing Brush. The Kubota Artistic Actions Vol.
Two Smoothner action and Kodak Digital GEM Air-
brush Professional c. 2.0 plug-in were used to
smooth out the skin. Finally, the image was vi-
gnetted using Kubota Artistic Actions Vol. Two
Edge Burner action, and Nik's Midnight filter was
applied.
sub]ca, creating dcptli and tbrni, allcm ing you li) a.hicsc ihc desired three
dimcnsii)na! quality in your portrait.
Light reflected hv a uhue or tight colored structure more than IS feet
from the umdow can he ideal. Ihis structure acts as a large reflector, pour
ing soft, diffuse light into the room. When working in a low-light situation,
the photographer can place a large white reflector outside the u mdou to sim
ulatc the same effect mu\ thus direct more light into the working area.
Ax'oid sunlight that is reflected off of a parked car, the window of another
building, or a metal structure. Colored objects outside the window (e.g., a
house with blue vinvl siding) can afYcct the color of the light streaming into
the room. Your best bet in such a case mav be simplv to find another ro(»m
to shoot in. If this locatitjn is vour best option, hcmev er, vou c.m try to coun-
teract the problem by using vour camera's custom white balance setting
and/or correcting the color cast in postproduction. Nt)te that shooting in a
second-floor room often improves the odds that your light will be free from
the color casts that light can pick up from parked cars, grass, and other out
door objects.
Once vou've located the ideal window light source, position the camera at
a 90-degree angle to the w indow. The subject should be 90 degrees from the
camera angle, creating a triangle from the window, to the subject, to the cam
era. The subject then should have light tailing on the side, not the front or
back. A reflector or subtractive panel should be placed on the opposite side
of the window with the subject in the middle. Again, be sure to avoid pho
tographing the subject near a window when the sun is low in the sky and
level with the window. This creates a hard light qualitv thai w ill cast unw anted
dark shadows on the subject's face.
► MODIFYING THE LIGHT
On a heavily overcast day, you may need to
use a reflector outside the window to direct
more light into the room and another on the
opposite side of the subject to bounce light
back onto her. On a bright and sunny day,
you may need to use a diffusion panel in
front of the window to soften the light
falling on the subject for a more flattering
effect.
It is common to have limited space in a tradi-
tional home setting. Standing on a ladder in-
creased the distance between the camera and the
subject. To create this beautifully lit image, the
subject was posed facing the large master bed-
room window, and the camera was positioned be-
tween her and the light source. Note that the
positions of her arms create a graceful, visually
pleasing S curve in the composition. A Fuji
FinePix S3 Pro and an exposure of f/3.8 at '/'»
■.econd at ISO 400 was used to capture the image.
Nik Software's Midnight filter was used to en-
hance the image postcapture.
— m
62 THE ART OF PREGNANCY PHOTOGRAPHY
The above image was made in the couple's master bedroom. However, the bed was too far from the win-
dow and could not be moved. Therefore, the backdrop I'd selected for the session was placed on the car-
peted floor, and complementary fabrics were added to enhance the color and add texture in the image.
The light coming through the window was very bright, so diffusion cloth was hung over the window to
soften the light. A reflector was placed directly across from the window. Note the direction of the light
and how it wrapped around the couple.
When working with window or natural light, you will find that it is necessary to work at a faster ISO
rating. Given the lack of space in most homes you will also have to use a shorter focal length lens (my
Tamron 28-75mm f/2.8 lens worked perfectly in this situation). This image was captured with a Fuji
FinePix S3 Pro camera, with an exposure setting of f/3.6 at '/ao second at ISO 400.
LIGHTING IN THE HOME 63
7. STUDIO LIGHTING
When conducting, the pregnancy portrait session in the studio, yon \:,\n
create precisely the portrait lighting etTect you're after. This is a clear
ad\ antage. Keep in mind that the best light is simple, soft, ditUise, arul conies
from the side of the subject, rather than from oxerhead.
When it comes to lighting a pregnant woman, your goal is to tnake her ap-
pear as beautiful as possible, to use lighting that helps her appear slim and
shapely and caresses lier features, making them as symmetrical as possible.
Above— Your main goal in studio lighting should
be to create a sense of depth and dimension in
the image. The lighting should be controlled in
such a way as to illuminate and give form to tKe
main subject. With a softbox, such as the Norman
60-inch octagonal softbox used in this image, the
edge of the light falls off quickly, illuminating
only the subject, not the surrounding area, The
advantage of this is that the subject becomes the
focal point. This simple setup consists of a Nor-
man Monolight ML 400, a 60-inch octagonal soft-
box, and a black panel attached to a stand.
Left— With striking subjects, you can use very
dramatic lighting with a high ratio. This image
was captured with a Nikon 02x and Tamron SP AF
Aspherical XR Oi ID 28-75mm f/2.8 lens. The set-
ting was f/5.6 at '/i^s second and an ISO of 100.
The image was slightly retouched in Photoshop
with the Healing Brush, then enhanced with Nik's
Midnight filter. Finally, the image was vignetted
using the Kubota Artistic Actions Vol. Two Edge
Burner action.
J
The dramatic lighting in this portrait was well
suited to the subjects' personalities and helped
to create the desired mood. Using a single soft-
box created the required shape and form across
the mother's midsection and the father's face and
arm. The father's position was reversed, as com-
pared to the pose used in the facing-page image,
in order to show his tattoo. The portrait is more
interesting showing a piece of their personalities.
Using light that crosses ihc abdomen .m(.] tails otVon the woman's backside,
then inrning her i\Ki: back into the light i:.\n help to showcase her face to
best effect and \ isually slim and flatter her figure.
THE TOOLBOX
Think of your camera room, and all the lighting equipment it contains, as
your toolbox. When conceptualizing a portrait, determine the best tools for
the job. Simple lighting is often best .md ^.m allow \()u to Focus \'our atten
tiun on relaxing and complimenting your subject, finessing the pt>se, etc.
Your basic tools arc your main light, fill light (secondary light used to
lighten the shadow areas), light modifiers (softboxes, umbrellas, and other de-
vices that tit over or on yotir lights), reflectors (white, siher, and gold), stib-
tractive (black) lighting panels, light stands, backgroimds, and a light meter.
LIGHT RATIOS
To create the best possible portrait, \^n\ must learn how to light vour subject
in a way that flatters her form. Often, a higher light ratio will be your best
option.
A light ratio is a tool that photographers use to compare And describe the
illumination le\'els (the highlight and shadow ) produced on each side of the
STUDIO LIGHTING 6S
subject. The higlicr ihc ratio, the more dramatie the dil'tereiKe hetwceii the
highlight and the shadow; and the greater the contrast m the image. When
the subject is evenly illuminated, there is a 1:1 ratio. When the ilkimination
is 2:1, the highlight side of the subject is twice as bright as the sliadow side.
In images with higher lighting ratios (e.g., 3:1 ), there is a more profound
difference between the highlight and shadow areas. When tlie shadows are
much darker than the highlights, the darker areas olihe bodv seem to re-
cede; in other words, the subject^s form can be made to appear slimmer. Con
versely, the highlights w ill draw the viewer\ ga/e.
In the studio, photographers use a Hash meter to gauge the amount of
light emitted bv their str(,bes. In other settings, an incident light meter read
ing, with the dome ofvour meter pointed ai the light source, can be used to
determine the highlight to shadow ratio. ( ,V./,v In digital capture, care should
be taken to not o\ere\pose the highlights.)
In order to give a beautiful form and shape t
subject and produce a three-dimensional eff"^^'
higher lighting ratio was used to c ^^''^
image. From the highlight side of the
the shadow side there was a 3-stop differen
The approach provided an added benefit of 5^
ming the mother, with one side of hpr h •
' Detng in
the shadow.
► CLIENT TESTIMONIAL
"Jennifer was such a pleasure to work
with. My husband and I have never taken
professional studio photos before. Jennifer
made our experience veoy/ relaxing and was
very understanding of our inexperience as
photography models. She was able to
explain the different lighting situations
that were involved with each shot. She
also had an upbeat attitude that made us
comfortable to be around her and her
camera. The photos were wonderful! We
couldn't believe that it was us in the
photographs. My husband and I loved
every single photo she took and it was so
hard to choose which was our favorite.
We were very impressed by Jennifer's
professionalism and her talent. She has
a great eye."
-Celin T.
66 THE ART OF PREGNANCY PHOTOGRAPHY
► REMBRANDT LIGHTING
Rembrandt lighting is a dramatic lighting
style named after the famous painter, Rem-
brandt Harmenszoon Van Rijn. When paint-
ing his portrait subjects, Rembrandt used
very directional light that came from a small
open window above the subject. He allowed
the light to fall across the subject, creating
a small triangle of light on the far cheek
under the eye. The resultant dramatic high-
light-to-shadow ratio produced a feeling of
depth in the portrait.
BROAD AND SHORT LIGHTING
1 here MX two basic types of portrait lighting: broad and sliort lighting. Broad
lighting refers to a presentation m w hich the main light illuminates the side
ot the client's face that is turned tov\ard the camera. This type of lighting
tends to flatten the contours of the features and make the face appear wider.
For this reason, it is not a favorable approach in the majority of sessions.
Short lighting refers ro a presentation in which the main light illuminates
the side of the face that is turned away from the camera. It emphasizes the
contours of the subject's features and tends to present a more narrow view
ot the face. When a weak fill light is used in a short lighting setup, a dramatic
lighting stvie with deep shadows and bright highlights results.
BASIC LIGHTING PAHERNS
Many photographers strive to achieve one of the following light patterns.
These are tried and true "shortcuts" that can be used to flatter the face.
Butterfly Lighting. Butterfly lighting, also known as Paramount light-
ing, IS a feminine lighting style that produces a butterfly-like shadow beneath
the subject's nose. Tlie lighting style emphasi/es smooth skin and high cheek-
bones. To produce this lighting style, the main light is positioned high and
in front of the client's nose. The fill light is placed directly beneath the main
light, at the client's head height. Next, the hair light is placed opposite the
main light. (C^are should be taken to ensure that it lights only the hair and
does not skim across the subject's i;\\L{:. I Hinally, the backgrt)und light is placed
low and behind the subject to form a semicircle of light behind the subject
that fades out toward the edges.
Loop Lighting. Loop lighting is a variation of butterfly lighting and is
flattering tor people with oval-shaped faces. To create this stv'le of lighting,
place the main light lower and more to the side of the subject so that the
shadow under the nose becomes a small loop on the side of the h\Ci:. The fill
light should be placed on the opposite side of the camera, across from the
main light, and close to the camera/subject axis. It's important to ensure
that the fill light does not cast a shadow on the subject. The hair light and
background light should be placed as described for the butterfly lighting por-
trait st\'le.
Rembrandt Lighting. Also called 45 -degree lighting, this portrait light-
ing st>'le is characterized bv its small, triangular highlight on the shadtjwed
cheek of the subject. This is a dramatic lighting st)le that is otten used w hen
photographing male subjects.
To create this lighting stvle, place the main light lower mu\ farther tt) the
right than is described in the styles outlined above. Position the hair light as
described in the loop lighting description, but mo\e it in a bit closer to pro-
duce stronger highlights in the hair. 1 he background light should also be
placed as described above. Howe\er, the kicker lights should be pt)sitioned
to add brilliant highlights to the outline of the face and shoulders. ( Note: It
is important to ensure that these lights do not shine into the lens.)
STUDIO LIGHTING 67
in which the main light .llnminatcs only h.iirofth. la.c. h\ a d.MMiat.c hghl
ing stvic that can be used to narnm vn ide faces or wide teatu.es .md ca.i be
softened slightlv when a weak till is introduced.
To create this mnIc, move tlie main light lower mk\ farther to the side ot
the subject than it is used m the other lighting stvle descriptions. Sometimes,
the light may be placed behind the subject. This placement mav be necessary
\\ hen the subject is turned far from the camera.
Pronic Lighting. Also called rim lighting, this dramatic lighting stsle is
u.sed to emphasize a sub)ect\ elegant features. In this portrait stvle, the sub
ject IS turned 90 degrees from the lens. The main light is placed behind the
subject to illuminate best the center of the profile .md highlight the edge ot
the face, as \\ell as the hair and neck. Ihe fill light is placed on the same side
of the subject as the main light, .md a retlecior is .Kkkx\ opposite the main
light to hll in the shadows, i lie background light is placed low a\k\ behind
the subject. Adding a hair light is optional, but it can be placed on the re
tlectorside t)fthe subject for enhanced separation from the background.
SIMULATING WINDOW LIGHT
With window light, we strive to create a feeling of depth And form. Having
light from a large window to the side of the subject travel across the bod\ mk\
tall awa\ on the far side creates the form needed. With studio lighting, the
goal should be the same.
Using one light and a retlector or black panel produces a lighting etteci
that IS similar to window light but with a more abrupt tallotf The beautv ot
this is that the background tails into shadow, mk\ the light is tocused on the
subject, drawing the viewer's ga/e to the figure M\d emoii(Hi ot the subject
To create this family portrait, a 60-inch Norman
octagonal softbox was placed at a 45 degree
angle to the subjects and closer to the camera
angle. A reflector was used opposite the main
light. Shifting the light closer to the camera angle
spread the light, illuminating all the subjects.
With a larger group, be sure to move your main
light to a position that covers everything. While fl
this may flatten the light, all subjects will be lit
and the light ratio will be sufficient to create form.
■«P^f^
This shot was made following the creation of the
couple shot shown on page 64. To set up the
shot the mom was moved into a seated pose,
fabrics were added, and the softbox was lowered
to center the mother in the light. This image was
made with a Nikon D2x, Tamron 28- 70mm lens, at
f/5.6 and '/i.'s at an ISO of 100.
Another \ka\ m create light thai niiinics window light is to place ihe main
light at a 4S degree angle to the camera, then add a small anioiint ottill light
with either a retlecior or strobe-^or ambient light. This will gi\c a lower ratio
and less ilramatic lighting, resiihing in a softer, hiller look. This ^\}n be an es
pecialh- good choice when photographing a tamiK group.
To simulate window light, \our light source will have to be up to \\n]r
times w ider than \ our subject (e.g., one tliat is at least 4 (eel in w idth, but ide
ally, S 6 leet v\ide). Position the light lo the side ol the subiecl with a re
Hector or black panel on the oppiisite side. The camera angle will be from the
Iront oCthe subject, placing it ai '-)() degrees trom the light aiut sub)eci. This
lighting setup will gi\e vou the most dramatic lighting, with high lighting ra-
lios, creating form mk\ depth.
STUDIO LIGHTING 69
8. RETOUCHING AND CREATIVE EFFECTS
I he digital age has changed photography forever. It is now easier than
I cner to smooth our problems that might cause some pregnant uomen to Left-After slightly retouching the image"!!?
shy aua\ from the camera. VVc can use Photoshop \s Healing Brush to refine ^^^ Healing Brush, the Nik Midnight fitter was ap-
thc client\s skin, removing blemishes that result from hormonal changes .md ^^'-'^' '^^9*'*-'^ touching moment can be best
remox.ng veins and other percened tlaus. We can use the Liquifv filter to 7"^' '' ' '"''' ''"' ' ''"' '"'"
,. , , ^ 1 ,_,,..« Once this image was converted to black & white, _
shghtK .cshapc areas that need a little hnessing. Hv combming the pouer of the Nik Midnight filter was added. |
jl^'TW- W
70 THE ART OF PREGNANCY PHOTOGRAPHY
Top— When starting to retouch an image, open
your raw file and make adjustments to the color
balance and exposure. Copy the corrected image,
then continue to work on the copy. Bottom —
Most digital images will need sharpening. This
image was sharpened in nik Sharpener Pro 2.0.
Size and resolution settings were selected, and
the file was prepared for lab output.
Fliotosliop with the wide range ot dazzling cttccis a\ailablc through ihc use
of Photoshop phig ins, we can use our artistic talents .wMi imagination to ere
ate unexpected fantasy images.
In the sections thai tollow, we'll take a look at how a \arieiy ot' images
were digitalK retouched and enhanced in postproduction.
BASIC RETOUCHING OF SKIN
Digital images iiormalK need some t\pe ofreiouching, trt)m a small amount
of sharpening to resizing the image. Below, the basic approach to retouching
will lie demonstrated in several steps.
1. In Photoshop, open the original image, then duplicate the background
layer ( Laver>nuplicate Payer). If necessary, sharpen your image first, fat-
ten the layer (Payer>Flatten Image), then create a new duplicate la\er and
proceed to step 2.
2. Now, we'll use the I lealing Hrush to remove blemishes, \eins, and stretch
marks. Usinu a small brush, select m\ area with the same skm tones .wid
RETOUCHING AND CREATIVE EFFECTS 71
lighting as the area to be retouched. Use the Alt/Opt kc>' to select the
unblemished area, then click o\ er the blemish area to remove it. The Heal-
ing Brush marches the texture and lighting ofthc sampled mxa. gt\ ing the
blemished area a natural took.
The original image, before retouching the under-
eye area.
The affected areas were selected using the Patch
tool.
i
'■ 1 By sliding the selected areas down to an area with
smoother skin, we were able to improve the
portrait.
72 THE ART OF PREGNANCY PHOTOGRAPHY
3. To rcnioxc or soften bags uiidLT tlic eyes, diiplieate the layer. Using the
Patch tool, select the affected under e\e area. With the selection made,
move the selection down to m\ area w ith smooth skin.
4. With the selection still active, lower the opacity of the layer to around
40-60%, depending upon what gives a more natural look to the eyes. Then
Hatten the image {I.ayer>Flatten Image).
DIGITAL SUMMING
1 he liquity filler is a wonderful tool that can be used to slightly slim the arms,
under the chin, and alonu the bodv line. Here's how it's done:
Top— The liquify filter was chosen, and a large
brush was used to nudge along the length of the
arm. Bottom left and right — Next, the Pucker
tool was used to slightly slim under and around
the chin and in the cheek area.
1 . In Photoshop, go to Hilter>I.iquih'. (Make sure \'ou are working on a flat-
tened image.)
2. Using a very large brush, select the Forward Warp tool and carefutk nudge
along the length of the arm to slightly slim it. Moving to the inside of the
arm, reduce the size of the brush and nudge along the inside of the arm.
3, Using the Pucker tool, gently reduce the area under the chin, along the
chin line, and at the cheek area. Ci(t sK)\v and keep an e\e on \(»ur results^
backing up it the correction does not look natural.
RETOUCHING AND CREATIVE EFFECTS 7^
4. iNhning to the midsection, yon can create the illusion ot a slininier suhject Left— ihe forward warp tool was used to put a
bv ptittini; a little more ctirxe in the hack. L'snii; the l-orv\ard Warp tool ^'"^' """'^ ^'^^ '" ^^' ^''^ ^o^ ^ slimmer ap-
,. , , , , .-III' Pearance. Right-The Pucker tool and Fomard
again, slit;htlv push the ciir\e ot tlie hack in. u^ » , ^ ^
^ ^ " - ^ Warp toot were used on the other side of the
5. To Rirthcr gi\e the impression of" a shmmer midsection, take the Pucker tummy to slightly slim and enhance the body lir*
tool and the Forward Warp tool to the other side ot the tinnnu And gen
tly push m the edges.
Once the subject is retouched, you c.m further enhance the image using Nik
Software's Midnight filter, as demonstrated below.
NIK SOFTWARE'S MIDNIGHT FILTER
Oeating portraits reminiscent ot" paintings is very eas\ with Xik\ Midnight
filter, found in the Nik C;olor Hf'ex 2.0 Stvli/ing Filter set. The tilter sottens
the edges in the image, darkens shadow areas, and lightens highlights. \\'ith
the right image, the filter can be a perfect creative tool for creating a roman
tic, moodv effect.
With the filter\ contrast altering qualities in mind, the original image was
created using a lighting ratio of 3: 1 , rather than the SI ratio I t\ picallv favor
This screen shot shows the original image and t
effect of applying the Midnight filter.
74 THE ART OF PREGNANCY PHOTOGRAPHY
for picgiiancv poriraiis. I he image was lighter than lisluiI, with lx)th the sub-
jeet .wui surrounding area well illuminated.
Once installed, the Nik filters can he accessed via PhotoshojVs Filter menu.
To create the final image, the lollcming steps were employed:
1 . in Photoshop, the background layer ollhe original image was duplicated
( Layer>nuplicate Layer).
2. With the duplicate la\'cr active, the Midnight filter was selected (Filter>nik
Color Hfex Pro 2.0; Sylizing Hiltcrs>Midnight filter).
3. In Nik's Basic palette, the following slider amounts were set: Blur = 40%,
Contrast = 1S%, Brightness = 100%, and Color = 100%.
4. The Protect Highlights slider Awd Protect Shadows slider w ere both set to
50%.
5. With the settings in place, I clicked OK.
6. When the effect was complete, the image layers were merged ( Layer>HIat-
ren Imau;e) and the imaue was saved and closed.
The final image. Note the Midnight filter's effect
on the highlights and shadows in the image.
rhough the cmirctv ofihc iiiiaiic shown here was rrc.ued with the Midnight
filter, you ean use the settings in the Nik Selective palette to seiectivelv apply
the effect, lo do so, you can apply the effect to the overall image, as outlined
above, then use the Krasc tool in the Selective palette. To do so, choose the
Krase mode, select a suitable brush si/e in PhotoshopN ( >ptioiis bar, reduce
the tool's opaciiv, paint o\er areas that should appear slightly lighter and
sharper (e.g., the eyes and the highlights in the hair), and hit Apply. Alterna-
tively, you can simply select the Midnight filter from the Selective palette, ad-
just all of the sliders in the Basic :\ni.\ Advanced palette as desired (see steps 3
and 4 above) and then click on tlie Paint button lo seiectivelv M\d the filter
to specific image areas. When the image appears as you desire, hit Apply. Hor
the majority of the images in this book, the entire image was ctncred except
for the eves, lips, and sometimes hair.
BASIC RETOUCHING AND ENHANCEMENT
The steps below illustrate how making a few refinements to this touching
family portrait made for a more attracti\e and salable image. You can employ
these techniques to correct similar problems in your own images. Note: Ik-
sure to sa\e a backup cop\' of all of your images before retouching them so
that you always ha\e m^ original file tt) revert tt) should the need arise.
1 . To remo\e the visible veins and blemishes from the mother's stomach, the
backgrtnind layer was duplicated (l,ayer>nuplicate Layer).
2. Next, the Healing Brush was used to retouch the stomach area.
3. The C;:ione tool, with an opacity setting of 100% was selected next, mm\ skin
was sampled a\u\ stamped over the \ isible [Portion of the girPs shorts. Note
that this tool can also be used to extend the background area if need be
and to add more fabric to better cover the body (or stamp skm tones o\er
jsome clothing that's pecking out from under a tulle wrap).
ntaio»lM>p Ftit Edit tmtgt Uyer Stittt Filter V1«w mnOtm Htio
This screen shot shows two images — the final
portrait (lel^) once the retouching was complete
and the filter effect was applied, and the original
(right).
76 THE ART OF PREGNANCY PHOTOGRAPHY
Top— ^Lenj The Healing Brush was used to re-
touch the subject's stomach area. (Center) The
mother's stomach was selected with the Lasso
tool. (Right) A layer mask was created to isolate
the woman's stomach. Bottom — This screen shot
shows the Nik Midnight filter Basic palette and
the settings chosen for this image.
4. 1 he .stretching ot the .skin across the prcgnaiu inoiher's midsection re-
sulted in .1 slightly lighter skin tone in this area. To sol\e this prohleni, the
stomach area was isolated with the l^asso tool. With the selection actixe, I
clicked on the Layer Mask icon ai the hoiiom otthe La\ers palette and
changed the hlending m(»de to Multiplv. The la\'er opacit\- was reduced to
57% to ensure that the stomach area matched the rest o( the woman's skin.
5. riie layers were merged ( Layer>Flatten image), and a new duplicate !a\er
( i.ayer>l)uplicate Layer) was createii.
6. 1 he last step was to enhance the new duplicate Luer with Xik Software's
Midnight filter. To create this image, settings ot iilur = SLX., C;t)ntrast =
S2%, Briglitness = 98%, .md Color = 89% were selected in the Basic filter
palette. If you desire, you can use the Ad\anced palette (accessed by click
ing Ad\'aneed at the top-left corner of the Basic palette) to speciH' the de
grce to which the image highlights and shadows will be protected when
RETOUCHING AND CREATIVE EFFECTS 77
the filter is applied. For this image, those values were Proieet Miu.hlis;his
= 50% and Protect Shadows = 20%. Next, I clicked OK to apply the filter.
7. With the desired effects in place, the image was tiattened ( La\er>Mitten
Image) and saved.
NIK'S MONDAY MORNING FILTER
Nik's Monday Morning filter (also available in the Nik Color l-.fe\ Pro 2.0 hi
ter set) is another great option for finishing .m image. Hie following tech-
nique is coiirtes\- of Patricia Mathis, who is also the model in the image!
1. Patricia accessed Nik's Monday Morning filter throiigli Photoshop's Pil-
fer menu. In the Basic palette, the sliders were adjusted as follows: Gram
= 0%, Brightness - 28%, Smear = 63%, .md Co\ov - 100%.
2. Next, she clicked on the Advanced setting in the upper-left corner of the
palette. The Protect Highlights slider was set to 100%; the Protect Shad-
ows slider was set to 47%. She hit OK to applv the hlter effect.
Monday Morning
GfW)
0\
IngMMsi
n\
A,
Snwar
«3«
Color
▲ ~
loot
.*.
> S«tllfi«i
> «!»<>» Moo
> Ktitl Coalrolt
Monday Morning
nik CotOf lf»- ~
f.-r (e
Top— This screen shot shows the Basic palette
for the Monday Morning filter and the settings
used to create the final effect. Note that the
orange highlight above the sliders indicates
the range of values that will work best with
the particular image. Bottom— This screen
shot shows the Advanced palette and the Pro-
tect Highlights and Protect Shadows values
used to create this image.
Meres the final image, beautifully rendered by 3. I»aincia then crcaicJ a lavLT mask, cxposiiii; oiih the cvcs. She cho.sc the
Nik's Monday Morning filter. ,. , , , ■ ,, , ■■".,,
hrasc mode, selected a suitable brush si/e in Photoshop s Options bar,
and set the tooPs opacity to 35% to bring back some of the sharpness in
the eyes. Next, she used ihe same opacity settint; but chose a larger brush
si/e to briiii; back sctme sharpness in the face. linalK, she enlarjAcd her
brush M'n.i erased areas around the subjects' heads to make those areas a
little sharper.
BORDER EFFECTS
('oiiiposiimu, a pi-egnancy portrait with au imau.e of" an artistic border is a
quick anti easy way to change the mood .md overall impact ofan image. I his
is one ot the easiest effects to aciiieve, A\^i\ one of the most beamitul treat-
ments. Here's iiow it\s tione:
1. l-'irst, uc opened one beautiful natural lighi matcniit\ image in Photoshop.
2. Ne.xt, the stock border image (courtesy of Meicin\ Megaioitilis, a promi-
nent Australian photographer) \\aso[>ened.
RETOUCHING AND CREATIVE EFFECTS 79
3. The b<Hdcr ini.\t;c was pulled on top oftlic prcgn.inL-\' porir.iii and rcsi/cd
using the Kdit>rransf(>rni fuiKrion to ensure that it matched the eimien-
sions of the pregnancy portrait.
4. The Hraser tool was used at se\eral different opaeit\' settings to blend the
border into the image. The opacity from the outside of the border into the
image w as increased so that the border overlapping the image was almost
completely erased.
FANTASY IMAGES
lor expectant parents, a sonogram pro\ides .w exciting opportunity' to "pre-
\iev\" tlie bain m liie womb. Through the technological ad\ances that digi-
tal imaging offers, photographers cAn now help clients to preserve the magical
feeling that comes from catching a glimpse of the babv in tiie uterus. Vou
can use the process outlined below to create a composite portrait that super-
Top— To composite a portrait with an artistic bor-'k
der photo, first open both image files in Photo-I
shop. Bottom— A layer mask is created on thtl
border image layer, and the portrait, which iies]
just below the border image, is revealed. Facing I
page— Here is the final composite pregnancy]
portrait.
HO THE ART OF PREGNANCY PHOTOGRAPHY
imposes ^\^ image of the baby onto the mother's stomach, ereaiing a t'antasx'
portrait that's highly desirable to your elienis.
Photographing the Belly. When photographmii, the mother's lielK, Ik-
sure to capture it at its widest [ioint. Depending upnu how the mother is car-
rying, this usually is from the front, bin in the case of the twins, the best
angle may be from the side. The lighting should ilUiminate the main portion
of the belly but should not be so intense that detail is lost in the highlights.
Many new parents cherish composite photos. Cre-
ating them involves importing the newborn
baby's photo into Photoshop and working a little
digital magic.
82 THE ART OF PREGNANCY PHOTOGRAPHY
Creating this "twins in the womb" portrait was
fairly easy. We started with a portrait that allowed
for an unobstructed view of the shape of the
tummy and then created a portrait of the twins
nestled closely as they would have been in the
uterus. To ensure the best-possible effect when
creating an image like this, you will want to cap-
ture the pregnancy at the latest date possible so
the tummy size appears appropriate for a full-
term baby (or babies). The timing can be tricky:
in this case, the session was held four weeks be-
fore the due date, since twins traditionally come
early. As it turned out, this mother went into
labor immediately after the session.
It is iniport.vm to hold tlic icxluic ofliic skin, as this v\ill atld to the rc.ilistic
feci olihc image. I,ii;htinL; from the side of the subjeei and using a lighting
ratio of 3:1 or greater \\\\\ help \'ou seiilpt the siihject's figure .\\^d enhanec
the feeling of dimension in the image.
When creating an image lo be used in a coinpositc like this, take care that
the mom's hands And any props do not cut into the view of the tummy. This
will lacilitaie compositing the images in Photosho[>. There is one notable ex-
ception to this rule: it can he a good idea to co\er the bellv with a sheer,
almost transparent fabric. I he fabric layer adds to the natural transition be-
tween the belly .\\u\ the baby. Without the fabric, it can be difficult to achicxe
a smooth transition, and the image may end up looking too contrived.
Photographing the Baby. 1 he second component of the fantasy image is
the newborn portrait. Portraits of babies who are six days to three weeks old
seem to work best. At this age, the babies K:.\n be easily brought into the stu-
dio. -Also, b\ this time, the mom Aud bab\ will ha\e .\u established .\\u\ ef
tccnvc fcctinii; pattern, this l.ui help ensure ihc t\il>\ i\ c.ilin, .\iu1 slccp\, tor
the imatie. A sleeping bab\ apfxars more like .1 l>.ih\ in the \\onil>
I he tahries used in the pregnanes session uill help \(Hi detertnnie uhieh
tahries to ph«)tograph the intani against. I r\ to photograph ihc hahv against
a fabric iliat niatehes the mother's skin tone as eloselv as possilMe for easier
blending onec ihc images are eombined.
Ihe easiest ua\ to pliotograph the habv is to plaee tlie baekground tabne
o\er the mother, then plaee the neub(>rn m her arms 1 ia\e the motlier eurl
the baby nilo a tight little ball, simulating the ua\ the bain would appear
in ihc womb, lake sc\cral images from various angles, jl possible, ensure that
the c]ualitv and dircetion of the light used m the pregnanev portrait is re
created in the image of the bain. It this is not possible, \ou mav be able to
flip the image 111 Photoshop or do a little image editing to ensure the t\Mr im
ages are better matched.
In the following sections, we will re\iew the specific strategies uscil to ere
ate composites.
Baby Makes Three
The portrait ot the father and mother was captured at the client's home ap
proximately one month before the bab\ was born. Ihe image ot the new
born was captured about ten davs atter birth. To create the newborji's
portrait, we drajud the mother in tabric mk\ placed the babv in her arms.
1 Roth images were opened in Photoshftp
2. A duplicate layer (Laycr>nuplicate I.aven was created, ami some minor
retouching was done.
.V i he \aricd skin tones ot tliese ihree sub|ecis m.ule the image a good iAW
liulate tor a color to lijack \- white conversion lo accomplish this, the
K4 THE ART OF PREGNANCY PHOTOGRAPHY
though sleeping babies usually appear 'froSTjJP
.Stic when digitally imposed on the mommy's
tummy, there are times when an expression works
perfectly with the mood of the image. Here, the
baby's expression works well with the older sib-
lings' expressions. Additionally, the little harids
of the baby, positioned close to the face, harmo-
nize with the hands of the mom and siblings
image was H.utcncd fLaycr>FlnrrL-n Im.igc), then rhc Kubota Artistic Ac-
tions Vol. I wo New B&VV action was selected in liie Actions palette, M\d
the effect was applied by iiitting the l^lay button.
4. The image of the bab\' was flattened and resized to suit the size of the
mom's stomach. The [Portrait was dragu,ed above the layer containing tlie
pregnancy portrait. Ne\t, the l.raser tool, set to various opacities, was used
to erase the fabric the baby was phott)graphed upon. ^I'he baby was moved
into the desired position on the belly. Note how well the position of the
babv complements the position of the lather's tacc and expression.
5. The background layer was renamed I. aver to unlock it so that the layer
with the baby could be dragged below the pregnanc\ portrait la\er. A Lwer
mask w as created on the pregnancy portrait layer, .md with the Brush tool
set to black .md with an opacity of 73%, the bab\' was rexealed. {Hint:
'lake care to reveal onl\- what is needed to tell the story of the image.)
6. Finally, the image was flattened ( Layer>Flatten Image), then the Kubota
Artistic Actions \ol. Two luige Burner action was selected in the Actions
palette, and the effect was apfilied b\ hitting the Pla\ button.
Left— This screen shot shows the two images that will be composited and finessed to create the fantasy image. Right— This screen shot shows the image of
the baby positioned on the mother's tummy.
I Left— A layer mask was created, and the Brush tool, set to black and an opacity setting of 73%, was used to reveal the image of the baby. Right— Adding
twith the Edge Burner action was the final step required in producing this fantasy portrait.
RETOUCHING AND CREATIVE EFFECTS 85
Twi
Th
ns
7'>/'1" **^ ""St*-
c niatcrniiy [-sortrait showcased in this section was captured late in the
pregnancy. Cii\en the si/e of tlie mom's belly from carrying twins, it was nec-
essary to co\er her uimnn with fabric. After investigating several positions,
she was photographed from above with light coming from a w indow directly
in front of her.
Ihe twins were photographed in their home less than three weeks after
they were born. Some babies ^iau become very fussy during the sessi(jn. Hav-
ing their mother hold them cAn be a problem, as they may want to nurse if
the\ sense that Mom is nearby. Faced with this situation during this session,
we had their grandmother sit down near a large window in the home and
ccwered her w ith a w hite backdrop. When the babies were asleep, thev were
positioned very close together .md photographed on grandma's lap.
Both images were imported into Photoshop, and tlie following steps were
taken to produce the composite fantasv image.
Facing page — The finat composite image. Top —
First, both images were opened in Photoshop.
Bottom— The image of the twins was dragged
onto the photo of the mom, and the babies were
positioned on their mom's tummy.
1. Both images were opened in l^hotoshop.
2. I he image of the babies was cropped, dragged over the pregnancy portrait,
And positioned on the mother's belly. The edt^es of the fabric around the
I w m 1 1. 1 n w
V. *v
[ ll«riilAt
P ^
►n=_ ?v
J ,
i^ X ^
:^: 5!1^
babies was erased using ditferenr opaeity settings to create a realistic tran
sition frdin the fabric under the babies to the mother's skin.
3. The layers were renamed, and the laver containing the image otthe babies
was dragged below the pregnancy portrait la\er. A la\er mask was applied,
and the Eraser tool, set to various opacit>' settings, was used to reveal the
image of the twins and to blend the areas where the two images met to ere
ate a realistic transition.
4. Next, the image was darkened slightly in Levels, ami hot spots were re
touched with the (lone tool.
5. The Monday Morning filter was opened. In the Advanced palette. Protect
Highlights was set to 100% and Protect Shadows was set to about T>i)%. In
the Basic palette, the slider settings for this filter were Grain = 0%, Bright-
ness = 30%, Smear = 38% (this tails within the highlighted area of the slider,
indicating the range of values that will produce the best effects for the se-
lected image), and Color = 100%. With these settings in place, clicking
OK applied the filter.
6. Next, the image was flattened (Layer>Flatten Image). To finish the por-
trait, Kubota Artistic Actions Vol. Two Hdge Burner action was used. lo
apply the effect, we simply selected the action in the Actions palette and
hit Plav.
Top-Thh screen shot shows the appeara.ee Of
the Layers p.lette, illustrating the steps applied
m,t.„ 3. Bottom-(Left) This screen shot shows
Ihe Protect Highlights and Protect Shadows vat
ues selected in the filter's Advanced palette
(Right) This screen shot shows the Grain, Bright^
ness, Smear, and color values assigned in the fil-
ter's Basic palette to create the final filter effect
88 THE ART OF PREGNANCY PHOTOGRAPHY
Top—The Kubota Edge Burner plug-in was used
to create a vignette around the subject, which
helps to draw the viewer's gaze to the focal point
of the image. Bottom— The final image.
RETOUCHING AND CREATIVE EFFECTS 89
9. MARKETING AND SALES
M.inv photogr.iphcrs have a tendency to get so caught up in the .irt of
creating their images that they neglect to dev(He their time and energy
to marketing their unique brand of portraiture and enhancing their sales. This
chapter will provide some easyto-implement strategics to help you meet
those goals.
MARKETING IS ESSENTIAL TO SUCCESS
With a limited audience ofexpectant mothers, marketing is essential to vour
success as a pregnancv portrait photographer, Reaching that audience and
enticing them to purchase \(uir products .md ser\ices is key. Iitst hav mg beau
titul images of pregnant nn)thers will not be enough to draw Inisiness. In the
article 'M^nver Selling," Mitche Graf seconds that notion, saying, "Many pho
tographers are incredible at creating stunning images for their clients and w in
all sorts of awards from their peers for their technical and artistic expertise.
But without the abilit\' to sell themselves or promote their business, failure is
not far behind. Long gone are the days when you could hang out a shingle
and people would Hood to your studio simply because you were gootl. In
today's fiercely competitive field of professional photography, onl\ the strong
will survive and the weak shall perish. Which will you be?" {Ranjjcfhidcr,
March 2004).
The goal of this chapter is to provide several ideas for getting the word
out about vour specialty. As you will see, creating the marketing piece — be it
a brochure, business card, or postcard — is only half the challenge. Finding
the right location at which to display your marketing pieces or a mailing list
that will allow you to target prospective clients is key to your success.
► SAGE ADVICE
Mitche Grafe says, "Marketing is a tool, not
a magic pill, a cure-all, or a secret potion.
It takes hard work. Some photographers
need to be reminded that the camera is also
a tool to get what we want out of life" (as
quoted in CharMaine Beleele, "Power Mar- 1
keting Super Conference." Rangefinder, Feb. j
2005).
YOUR IMAGE
The tirst step to success in marketing is presenting your work, studio, .md
vourself in a cohesive manner. Your work, studio, and professional appearance
should send a message to prospective clients and entice your desired demo
graphic. When looking at your body of photographic work, what words come
to mind? Is your work traditional, young mk\ fresh, edgy and modern, or
calm and romantic? If you can't come up with descriptive words that describe
90 THE ART OF PREGNANCY PHOTOGRAPHY
mm
Your business cards should mirror the style and
quality of your other marketing materials and
should appeal to the demographic you're after.
Business cards created by Studio2C0esign (www
.studio2Cdesign.com).
► CLIENT TESTIMONIAL
"During my first prenatal visit I saw a
beautiful photograph of my obstetrician's
pregnant belly surrounded by her three
adoring children. I was so enchanted by
this photograph that I had to find out who
could do such amazing work. Through her
art, Jennifer George truly captures the
essence of soul and spirit. I feel very
fortunate to have found her."
—Christine R.
tlic tvpc and st\ Ic ot your work, show a sLJcciion Dlyour iniaij,cs lo others and
listen to w hat thc\ say. Do xoiir studio and appearance reflect the feel olxonr
portrait st\ ler The look or feel voii create is considered "hrandinu," To sculpt
vour image, consider the tollouini; questions: What sets you apart trt)m your
competitors? What message do you want to send to the piihlic^ Why sliould
a mother come to you, rather than another pliotograplier, tor her maternity
portraits? Bill C]hiara\ alle .\\k\ Barbara l-indLu' Schenck's book, Brnndiuji for
Dii }ii Hi ii-y {W iky Pul^lishing, 2006) is a great resource for developing sour
business image. Power Markctnii) l>\ Miiche Clraf" i .\mheisi Media, 2004) is
another indispensible book. On the huernet, be sure to check out www.small
businessbranding.com tor information on sculpting \'our image.
Once vou have a handle on what vour stvie is, or u liat xou want it to be,
you v\ill want to ensure the colors, font st\les, and e\en the si/e of the pieces
you create reflect that st\'le. It your stvle is traditional, yt)ii will want to select
srandard'si/x postcards, subdued colors, and brochures and with classic fonts.
If vour look is young and fresh, you will want to use odd-size postcards,
bright colors, Awd funky fonts. Keep the look cohesi\e and follow the color,
stvle, M\i\ teel throughout all your marketing pieces, including \oui- website.
MARKETING AND SALES 91
BROCHURES AND FLYERS
Main photogiMphcrs Jruiii up iincifsi in their pregnancy portraiture by plac-
ing colorful, cyc-catcliing brochures and tlyers in local obstetricians' and pe-
diatricians' offices. Your brochures and flyers should feature \'our best work
and should be updated often with new images.
When designing these niaierials, be sure that the text does not osershadow
the focal point of the marketing piece — your photography. Also, be sure that
your contact information (studio name, address, phone number, and website)
are prominentlv featured. Also, strive to create a brand identitv. In other
words, .select a font Ami overall layout that remains consistent from one piece
to another. .Also remember to ensure that \()ur print materials are top qual-
ity'. ThcN' represent vou, vinw studii>, voui- work, .xnd \c)ur professionalism. If
you are not confident in your ability to design yom- ov\n marketing materi-
als, hire a professional designer. Quality is key. Remember, yt)ur portraits may
be award winning, but if your marketing materials don't refiect that prt)fes-
sionalism, prospecti\c clients won't pursue sou as their photographer.
POSTCARDS
If you distribute postcards, make them colorful And eye-catching. Say little,
show a lot! Make them tiny masterpieces. The same design elements can be
incorporated m print newspaper and magazine ads and television ads; this
will help \ou to build brand recognition.
The priceless expressions and the rounded tummy
featured on this postcard will appeal to a wide
range of prospective clients. Frequently update
your postcards and other marketing materials so
that the image shown represents your current
style. Postcard by StudioZCDesign (www.studio2C
design.com).
Beautiful children and mothers make good sub-
jects for marketing pieces. Here, the colored fab-
ric behind the mother and child helps to catch
the eye of the viewer.
Mail the postcards lo iiowlyucd clients — or lo all ot xour cliciUs. Yoii can
also mail tlicm to local residents if voiir budtiet allows. Smaller studios and
more frugal owners ma\ tind thai the\ i:.\n generate all ot the business thev
can handle sinipiv b\ lea\ing the postcards in doctors' othces, in bab\ lurni
ture .\m\ clothing stores, in marernitv shops, on laundromat bulletin boards,
in teachers' lounges ai schools, in eliild pickup areas at preschools, at I. a
Leche League meetings bv the refreshments table, on bulletin boards in stores
near the photo supplies or bab\ iiems, in the 'Vjuiet room" w here babies are
taken during church ser\ices, M e!emeniar\ school resource centers, eic. Pur-
chasing a mailing list can simplitv \i>ur marketing sirategv. One good source
for such lists is w w \s.lisiser\ icedirect com.
MARKETING AND SALES 93
With the ability to order high-quality jxxstcards online at reasonable prices
and small quantities, you ean afford to change the image.s on the postcards
tVequently.
NEWSPAPER AND MAGAZINE ADS
U"\x)u ad\erlise in newspapers, family maga/ines, or weekK speciality papers,
be sure to purchase an advertisement large enough to draw attention, and
run the .\d consistenth' (e.g., everv Monda\', Wednesday, and Friday for sev-
eral weeks). Consider including a coupon for a free sitting in the parents'
magazines and newspapers for your area. Vou w ill ha\e a way to gauge vour
exposure by the number of coupons redeemed.
If your budget prohibits the purchase of newspaper or maga/ine advertis-
ing, consider offering to photograph a few local events in exchange tor ad-
vertising space. Many small-town newspapers are understaffed and would
welcome \'our offer to lend a hand. Amy Connor, a successftil San Diego-arca
photographer has had success with this approach. She worked with her local
newspaper, taking photos in her community' to supplement their news cov-
erage, and the newspaper ran her studio's ad. Amy .said (jf the experience, "It
not onlv opened the community's eyes to my work but also continualh' got
my name out in front of a whole new audience of potential clients."
If advertising seems like a lot of work, remember the words of Edward
Weston ("Shall I Turn Professional.^" American Pboumrnphyb |Nov. 1912],
620-24): "Photography to ttie amateur is recreation; to the professional it is
work and hard work too, no matter how pleasurable it may be." Producing
artistic, sensational photographs and soliciting clients to photograph is hard
work. You must develop a good marketing strategy and must devote a great
deal of attention to efficiently carrying it out.
► KEEP IT FRESH
Every time you update your print materials,
go back to the same locations and distribute
the materials again. You may pick up a
client who did not respond to the first post-
card or flyer you handed out.
YOUR WEBSITE
A website is a critical component of an effective marketing plan, and having
one is just as important as having a bu.sincss card. Anyone with expendable
income will likely have access to a computer^ — and, of course, anyone w ith ex-
pendable income may be willing to spend that cash on your services.
A photographer's website is a virtual portfolio. It should demonstrate your
photographic style, should contain powerful, current images m\k.\ must appeal
to the demographic you wish to target.
Preselling. Before my website was up and running, clients called my stu-
dio and left a message asking me to call them back with prices for my work.
It took a great deal of sales training for me to change the course of that con-
versation from their hrst question on price to a focus on their portrait desires
and needs. My website changed all of this. When clients get mv machine,
they hear a message containing my web address — and often hang up. When
I listen to my messages, a hang-up is generally followed by a message from
an enthusiastic woman, asking if I could create for her and her familv images
like tlie ones shown on my website, and telling me that price is not a factor.
Facing page— Images displaying your uniqu
style not only help draw new business but can
distinguish your studio from other photographers^
studios.
94 THE ART OF PREGNANCY PHOTOGRAPHY
Mv ucl^Mtc IS Jcsit;ncJ to look liki- .in .iinsi's mjc ii a.asiri icscinhlc those
nscJ hv iiKvsi Ijinilv pliotopMplKi v It inniK-Ji.uch creates .in impression in
the pi<»speui\e .lients^ ninuis ih.u t!ie\ ..m work uiili an .iriist, noi iiisi .i
phoiour.i(>her n\ ho Joeutnents a nionieni 1 nou h.n.k poilrail sessunis lor
100 percent ol \isitors to nn ueUsiie
Professional Help. A quahu uebsiie is a entkal .oinponeiii ot v(nir niai
ketini; siratei^v Ihis is not the place to take a do it voinseh siaiue I honi^li
hinnv; a weh desruner can seem a sizable evpense, the iev\ai\ls are v\orth it
A iiisiom Jesiuneii site can help \oii to [losiiion vonrseil in the market in
terms olportiaii st\ le mk\ price ami will help \t)ii stand apart troiii \«nir com
pernors It hninu a protessicnal desiuner isc(»st prohihitne .nnsidei usiim a
rii
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■6 ENTCRSfTE
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.ju'jm-n—i .im*m ^lamp
Top— Your website's home page will either inspire
your client to use your services or turn them
away. The page should portray your signature
style and entice the viewer to want to see more
images. Once inside your site, your images
inspire the client to book a session, to
Use a strong image on your enter page. This page'
will help set your studio name, logo, and portrait
style firmly in your client's mind. Website by
www.bcre8ive.com.
M more^
ges wjH
>ttom.fl
his oaae "
96 THE ART OF PREGNANCY PHOTOGRAPHY
A good website is easy to navigate, wilh all ele-
ments a client may want to investigate clearly
ilbeled. Your images should be the most eye-
' Itching feature of your site, but be sure that
>ur contact information is clearly visible. Also.
^ sure to provide a direct link to your e-mail ad-
dress. Website by www.bcre8ive.com.
uel> licMiiii tcinpKitc Hct<»rc conmiitiing to a given icniplaic, though, re-
search your coiTipciilors' sites ti> he sure \«hi uon'i be using the same design.
Key FIcmcnts. No matter wlio designs xour site, vou uill want to ensure
that It features some entieal elements.
FirM, make sure sour images are fast loaciing Vour potential clients are
not going to wmu ut su t(»r a long time in front of their monitor waiting tor
vtnir images to loail leaturmg a high impact static image can he encmgh to
lure vieuerv to enter your site. You can also consider using a loatiing har along
with a static image; that gives \ie\vers .m idea as to hou long it \\ill take for
remaining images lo load
( hoose to slujucase onlv sour \er\ hest images. Padding the site with
extra images uill ifrau attention av\a\ from \<)ur strongest portraits :ind can
steer \ievsers aua\ tr(uti vour site I ess ts more, .\\k\ it uill onlv take clients a
fev\ minutes to decide they like your work and want to hire vou.
Make sure that the name of the studio, your address, cin^-, .\i\d state, and
phone number are easv t(» find and are legible.
Online PrcM)ring. Successful phot(»graphers know that selling vour im-
ages in a face to face meeting \ields happier clients ^\•^d bigger sales. After
taking the time to develop a rapport with your clients, you owe it to them to
create .\n evocative, emotional presentation in which vou can answer ques-
ti(ms, e\[>lain options, and share m their joy. Post your images online only
once you've held ,u\ in studio consultation — and for a limited time only. This
creates a sense of urgencv and encourages tneiuls And family to place orders,
even if thev live across the countrv Who knt>vvs.' This option mav also help
you to win more clients.
Vou might also consider offering online prtKifing it your pricing is struc-
tured in such a way so that the client has prepaid most (vther costs prior to
buving the prints {e.g., by paying a higher session tee, prepurchasing an
album, etc.).
MARKETING AND SALES 97
TELEVISION ADS
Iclcvision advertising is cost prohibitive for most photographers. An excel-
lent wav to take advantage ofthe reach of television is to join vviili other busi-
nesses or to partner \\itli a television station to raise monev lor a nonproht
organization. Bv taking on tliis task, yoifre likelv to W.nc viewers with a fa-
vorable impression too.
WORD OF MOUTH
Word-ot-mouth ad\ ertising is your best allv. A satisfied customer will tell <.th
ers about their experience, building \our client base at no cost to vou.
Ytni can offer existing clients a fabulous price break on their pregnancy
portrait or a great discount on their next session for referring an expectmg
friend or family member to \'our studio.
KEEP THEM COMING BACK FOR MORE
Perhaps the easiest way to generate pregnancy portrait business is to get past
clients back into the studio. Make sure that all of your clients are aware of
e\er\ t\ pe of service you offer. Your wedding clients can be great repeat
clients when they decide to start a family. A first -time familv portrait client
ma\ also benefit from some pregnancy portrait information; you never know
when her familv will grow. Always tell \()ur clients about the arrav of services
you offer. Ihev are your walking billboards.
PORTRAIT DISPLAYS
Because pregnancv photography is such a specialized area of photography,
you cannot rely on all ofthe a\enues vou might emplov lo market vour serv
ices to your general portrait population. One approach that works particularly
well is to ask local businesses that cater to vour prospective clients it they can
devote a little of their wall space to a portrait display.
Ihe best places to set up displays are in obstetrics and gynecolog>' offices,
fertilitv clinics, maternity shops, and any other business thai caters to babies.
Some practitioners and business owners w ill provide the opportunity without
requiring anv compen.sation, as your portraits can ,Kk\ to their decor. Others
may want to strike a trade agreement: one of my associates allows me lo show
m\' portraits in her office in exchange for a \earlv portrait session and framed
prints of her three children (you might ctjnsider offering gift certificates for
free portrait sessions that the business owners can give to loval clients). Ihis
particular display has brought me st>me of m\' best clients.
('reating large displays in local sho[iping centers or malls is another means
to marketing vour work, You can rent window space from other businesses
w ith the same clientele or can even seek to display you work inside the store.
Do a little researcii lo ensure that you are tlisplaying your work in bus!
nesscs frec]uented bv your desired demographic. Renting displav space can
be expensive, so you'll v\ant to do all von can to attract higher en*.! clients
with discretionarv income that thev are willing to spend on vour portraits.
Your unique imagery is a powerful motivator for
prospective clients to book your services. Be sure
to include some signature pieces in your product
displays.
98 THE ART OF PREGNANCY PHOTOGRAPHY
Consider cwating gifl certificates that offer the
b^aier a free portrait session, Offer them to local
business owners who can present them to their
clients, and note how your client base grows. Gift
certificates created by Studio2C0esign (www.stu
dio2Cdesign.com).
Gift Certificate
wvsf^yWfW
ift Certincate
'ogroptty wMion
David McKay oIMcKjv Photography in Sacramento, CA, t(H>k the time to
seek out a mail ih.it catcrv to high income cuvkhikts .Alter negotiating with
the mall tor lour vears, he was al>le it> ue.ue a beautiful display othis images
thai suited the overall look ortl)e mall environment. "Ihe key [H) ntaking
your display work tor vou ] is having work that is unique, different, and high
end . . work that is different from evervone else's and stands on its ovsn,"
Havid savs.
PUBLIC RELATIONS
It you tind the terms "marketing" mu\ "puhlic relations" confusing and as
sume thev are one Mni ihe same, vou owe it to yourself to read up on the
MARKETING AND SALES 99
Ti
power of maximizing yoLir public relations. Hric Yavcrhaum, Robert W. Hl\,
Ilisc Bcnun, and Ricliard Kirshcnbaum have written .\n easv to read, in
formative book called Piihlic Rclntiom for Dummies {Wiky Publishing,
2006), which you can pick up for under S20.00. Vou^ll enjoy learning about
the many ways you can expand \'our client base.
Networking is a critical component of achieving name recognition. As vou
will see, the photographers interviewed in chapter 9 ha\ e emploved many of
these age-old techniques. Many of them regularly attend weddings. Chamber
of C:ommerce mixers, special interest clubs, and museum and art gallery
openings to mix and mingle— and hand out business cards .md walking cards
(small cards printed front mk\ back with more mformaiion than a business
card but less than a brochure).
100 THE ART OF PREGNANCY PHOTOGRAPHY
In a market that is saturated with photographers
creating unusual and extraordinary images vyill set
you apart and create an interest in your services
► GOING THE EXTRA MILE
When you attend community events, con-
sider donating as a door prize a free preg-
nancy portrait session and/or a free print.
You might also consider giving attendees a
discount coupon for a pregnancy portrait
session. If they can't use it, they can pass it
on to a mother-to-be in their family or so
cial circle.
Contact your local Chamber of Commerce
to determine which businesses will allow
you to display and distribute your print ma^|
terials. These folks can also provide you with
contacts for organizations that may be look-
ing for speakers and donations from local
businesses.
isit
?rce"
I he impoi-LiiKc of networking has been spoken on extensively by many
siieeessful biisinesspeople. Zig Ziglar and John 1', I laves, Ph.D. have authored
Nau'ork Markawjjjhr /);/;//;«/o-(Wile\' l\iblishing, 2001 ), a great little book
that you can pick up for under S22.0(). hi it, you'll learn a wealth of ideas that
will help you ampiit^' your visibilit\' in the community. From attending civic
organization meetings, to taking on a speaking engagement for a local or-
ganization, to holding voiir own gallerv show or "mother^ tea" for young
women with small children, to displaving at the local county fair, to w riting
articles on the beauty of pregnancy portraits for the local parents^ newsletter
or community newspaper, to being a sponsor on public television's annual
auction where a buver can donate a set amount to the PBS station and have
a sittmg with vou, to giving away a free sitting and .m 8x1 0-inch portrait
through rattles conducted b\' the Chamber of Commerce, Rotarv Club, or
mothers' clubs— there's no c\k\ to the public appearances \ou can make to
reacli potential clients. As politicians know, you must meet and mingle, see
and be seen in a wide array of community events to gain recognition and w in
the public's interest.
Expressive images not only tel[ a story, they also
make great marketing pieces.
GENERATING YOUR OWN BUZZ
'Ihc parenting .\nd child -oriented newspapers, little neighborhood news-
papers (mostly weeklies), and the family sections of local newspapers arc al-
ways looking for new stories. C:onsider scheduling a meeting with the editor
of one of these publications, and tell them about the growing trend of women
having their pregnancies recorded diK\ showcased in famih' portrait albums.
i\lan\ editors .md reporters will be surprised and pleased to interview vou,
and when your story appears in print, you will be viewed as the local expert
on pregnancy portraiture.
SALES
Man\' pcDplc bciic\c that capturing images is tlic most inipt)nant part ol their
business. Of course, a photographer cannot stay in business unless they sell
their images!
There are man\* proofing options a\ailable to ph(Uographers .wmS their
clients today. VVc\'e found that projection works best tor our studio. Because
wc cater to higher-end clients, we often have the option to allow our clients
to pre\ iew their images on their large-screen televisions in their own home
theaters. This seems to produce better sales than do in-studio presentation
sessions, as we can recommend particular portraits in larger sizes for display
in specific areas of the home (with a qualitv frame, of course) or particular
specialty products.
We first run through a slide show of the images, set to royal t\' free music,
to really create aw enK)tional response from the \iewer. Then the images are
presented one by one or in small groups so the client can select her favorites
and place her order. We also recommend sexeral add-on items, including
frames, albums, and image boxes, jewelry, and purses. [Note: If you must,
you can send the DVD home with your clients to give them some time to
think about their order. Ht)we\er, this cm discourage sales. If \()ii do send
the D\l> home, get a large, nonrefundable deposit, .\nd tell the client that
the amount will be applied toward the price of their product order w hen the\'
come into the studio to place their order.)
You cm also add the D\D slide show to your product line (again, you
must be sure to use royalr\'-free music) and offer it for sale, or offer it as a gift
with purcliase if \our client's order reaches a specific dollar amount.
Projecting your images assures the biggest possi-
ble sales. Putting the images to music and show-
ing them large creates and emotional appeal for
your clients. Kim Treffinger's presentation room
(below) is decorated with samples of her work,
and products are displayed for clients to see and
touch. The rich colors used in the room create
help to create a luxurious, affluent feel Presen
tation room photo courstesy of Kim Treffinger,
www.treffingerstudio.com.
10. PROFESSIONAL PERSPECTIVES
I n this cliaptcr, well rake a look at sonic oftlic ways portrait photogra-
^ phcrs at tlic top ottlicir field approach pregnancy portraiture. You'll find
tliat many ot the pliotographers profiled here ha\e similar \ie\\ points; how-
ex er, you'll also gain An appreciati(»n tor the innovative approaches each pho-
tographer uses to personali/e their wnrk and set their business apart from the
competition.
Photo by Parker Pfister.
KEVIN KUBOTA
B.ickgrt)und. Kevin Ruboia ofKubota PhotoDesign, Inc., located in Bend,
OR, is a wedding and ptJrtrait photographer who creates images that speak
to the heart. The\ are filled with emotion, joy> intimacy, and impact. Who
better to capture the joyfiil, intimate nK)mcnts of pregnancy?
Kevin's photos have been featured on the covers and pages of many pop-
ular magazines and photography books. He has been a Nikon-sponsored
speaker, .mi.\ his work with the Nikon digital camera has been the focus of the
companv's advertisements. I le is named in the Legends section of the Nikon
website (wwAv.ni konnet.com) as a prominent wedding photographer. Kevin
is also a PPA Photographic Oaftsman.
Kevin loves to share his Phi)toshop tricks and actions, and his trademark
Digital Photography Bootcamp^^' seminars consistently sell out nationwide.
He IS the author of Dujitnl Photojjraphy Boot Camp (2006), published by
Amherst Media. He is alst) the creator of a number of Photoshop actions that
w ill allow vou to add beautiful portrait effects quickly and easily. For more in-
formation, go to www.KubotalmageTools.com.
Personal Satisfaction. For Kevin, the personal rewards that come from
creating pregnancy portraits are manv. He loves providing the subject with a
once-in-a lifetime image that she will cherish and hopefi-illy pass on to the
little one inside her belly. He also gets a lot of satisfaction from being able to
photograph a woman w ho may feel a little large and unattractive, because
when they create a beautiful portrait, she's so proud and excited. ''I had one
client whose mother simply could not understand why she wanted pregnancy
portraits made and tried to talk her out of it. After her mom saw the images,
siie loved them so much she bought many pt)rtraits herself," Kevin says.
PROFESSIONAL PERSPECTIVES 103
rocky ^1
and out ^i
For this image, Kevin's subject hiked down
trail, through freezing water, over logs, and out
onto a slippery riverbed to get to this spot (it was
the client's idea)-something Kevin wouldn't ask
a pregnant woman to do unless she was com-
pletely comfortable with it. Kevin used a tripod-
mounted Nikon Olx, fitted with ar) infrared filter
and set to the black & white mode. The image was
made under an overcast sky, and the exposure was
4 seconds at f/8. Photo by Kevin Kubota.
Kevin also finds that his inatcnmv portrait chcnts arc aluavs cxalcd and
eager to do whatever .t takcs-uhieh aluavs ania/.cs him considcrini; thc.r
condition .md the (act that imnmv^ a.id holdini; positions c.m ottcn he un-
comfortable. He appreciates when they are willing to go oLits.de u nh him and
find a great spot to make the images. For one session. Rev in\ pregnant suh-
104 THE ART OF PREGNANCY PHOTOGRAPHY
jcct hiked Jou II a rocky irail, through freezing water, over logs, and out onto
a slippery riverbed to reach an ideal spot (it was her idea). Kevin notes that
this is something he wouldn't ask the subject to do unless she was completely
comtonalilc with the idea. He also saws, "1 think there is something about
pregnancy that makes women bolder than usual — or mavbe Pm imagining
things."
Kevin says that in adding pregnanc\' photography to his repertoire, he has
toimd a niche he really loves. In I'act, he has come to en)o\' pregnancy pho-
lograpln and wedding pliotography the most. He adds thai ah hough preg-
nancy photography, in and oFit.self, isn't a big contributor to his financial
success, it's personally rewarding and gives him a chance to create more artis
tic images and display them in his studio. This ine\ itabty draws clients to book
his ser\ices tor ttieir other portrait needs as well. He feels that this is the time
in a woman's life when she is most beautitul. 'it's trul\- an ama/ing .\\k\ re-
warding thing to be able to capture," Kev in says.
Professional Tips. Ke\in tinds that the timing aspect of working with this
client demographic can be difficult. Occasionally, there are da\s when the
moms just don't feel good and the session must be rescheduled. Also, the
window of opportunity is relati\el\ small to begin with. Ke\in likes to pho-
► PROFESSIONAL REFLECTION tograph them just after the eighth month, w hen thev are large enough to re-
"These are the times when women are ^^Hy look pregnant but are still somewhat mobile.
the most beautiful in their lives; jp ^\^^. studio, Kevin often prefers to capture black ik white portraits, since
it's a truly amazing and rewarding j,^^. backgrounds are very simple and the image is all about the form of the
thing to be able to capture." ^^^^j^. ^^^^^ ^^^^^^^ ^ ^^.^^-^^ photos can be a little more forgiving: he once pho-
tographed a woman pregnant w ith tw ins, .md her bellv was so large that it was
literally purple from stretching. This, he decided, was definitely a black Sc
white shot! When shooting outdoors, Kevin's preference is typicallv to shoot
in color.
What techniciues .md technical advice does Kevin sharer 'M lov e my Nikon
85mm f/1.4 lens. I also use my 70 2()()mm f/2.8 lens when I need to get
farther away — like across a river! I think the shape of the bodv is more pleas-
ingly represented with an <SSmm or longer lens (with his Nikon, there's a
l.Sx lens magnification)."
Marketing. Kevin notes that booking a C(»uple's wedding photography
,md creating great wedding portraits can easily lead to pregnancv; babv; and
lamilv sessions down the line. When he first considered branching into ma-
tcrnit)' portraiture, he simply sought to photograph pregnant women who
had that special glow. "Some pregnant women feel beautihil andradiant when
pregnant; others don't feel very attractive at all," Kevin says. "I can usually
tell right awav. I would just ask them (or my wife would, if possible, as it's less
awkward for them) if they'd like to do some photos for my portfolio," he
adds. Simplv initiating this contact and creating beautiful images for these
women resulted in vvord-t)f^-mouth marketing and a growing client ba.se.
—Kevin Kubota
PROFESSIONAL PERSPECTIVES 105
TERRI LEE
Background. Tcrri owns and operates Starlight Photography in Mission
Viejo, C:A. a pliotographic instriicttir; Icrri has also been awarded a fellow
ship from the Professional Photographers of C:alifornia in recognition of her
service to the phott>graphic industry. In 2()()4, lerri conducted a program at
the Professional Photographers of CaliforniaN Western States C.onvcntion
called "A New Life: Maternity and Newborn Photography." In 20()S, she
was named PPA\s Photographer of the Year and was awarded her Photo
graphic Craftsman degree from the same organization.
When Terri first began her work as a professional photographer, she con
centrated on v\edding photography.
Many of her happy bridal clients became maternity portrait clients. As her
skill level and portfolio began to grow, Terri's satisfied pregnancy portrait
clients referred their pregnant family members and friends.
Other referrals ha\e come obstetricians' and either phvsician's otfices. 'lerri
provides local doctors with portraits that enhance their waiting rooms' and
examination rooms' decor in exchange for placing her marketing pieces in
the waiting rot)ms. The practice has provided mixed results, but it seems to
work best in offices that ser\e a predominance of her target market. Terri's
business is low volume b)- choice, but she is alwavs pleased when her targeted
Above— Photo by Mike Lee. Below— Terri used
shadows almost more than highlights to show the
sensuous form of this pregnarit woman. Fabrics
are her favorite device, as they allow her to draw
attention to certain areas and hide others. Photo
by Terii Lee.
markctini; luings her ihc kind of client \sIkj will adore .mi.\ appreciate what
she has created tor them.
Personal Satisfaction. It is of the utmost importance to lerri that her
clientele approach their photography session with higli expectations .md con-
fidence. Mer studio provides a safe, calm, and nurturini; enxironment in
which to collaborate and create one-of-a-kind imagerv.
For Tcrri, the honest emotional response from the client, not onl\ ti) her
portraits but to the process of rect)rding the images, is the greatest reward
pregnancy portraiture presents.
Tcrri says she likes clients w ho are ad\enturous, as they bring out the best
in her as .\n artist. It" she perceives a client to be comfortable and open
minded, she will spend time doing unique lighting setups and poses. This
stretches the botmdaries of her imagination and makes her feel more creative.
Terri dislikes photographing anyone w ho is unccHiifortable, despite her ef
forts to relieve their tension. "When a subject is, for whatever reason, self-
conscious or untrusting of me, I pick up on it and it seems to repress my
creativity" Tern says. "This hasn't happened very often, thankfully," she adds.
rerri feels there is an intimate circle of communication that extends from
the parents, to the child, to Terri during each session. "I always feel privi-
leged to be present at the moment w hen love is so thick in the air that we can
all feel it at the same time. That is what motivates me to find that person who
needs me to tell their story," she says.
Professional Tips. Terri creates sensitive, emotional portrayals of expec-
tant parents and their newborns. Using available light or studio lighting al
lows her to beautifully capture the sensuous form of the pregnant woman — as
well as the translucent, delicate skin of the newborn at a later session.
When in the studio, Terri keeps her light source as close to the subject as
possible to produce soft light. Her lighting st\'lc will change often, even dur-
► PROFESSIONAL REFLECTION i,^^ ^i^^. ^;(H,rse of a single session. She thinks of her lights as a painter would,
"I always feel privileged to be present at the ^,^j,^^ highlight and shadtnv to sculpt every subject. She asks, "Why would I
ever want them nailed down?" Terri hopes that every session will contain
.something new and different, for that client alone. "Just because you master
one style of lighting doesn't mean you are married to it," Tern advi.ses. Kx-
perimenting helps Terri to keep her creativity alive.
Like many photographers, Terri likes to use a long lens when possible, es-
peciallv when shooting outdoors.
'IVrri has an extensive background in the arts; she spent fifteen years as a
retouching artist before becoming a photographer. With digital imaging, she
can easily retouch her images and can provide a w ide va^iet^• of photographic
styles and fmishes for her client. Terri likes some images in black & white, or
sepia, or cyan; she\ never quite sure how an original image will look until
she^s played with her creative options postcapture. "I don't prefer t>ne look
over another except as the image demands," she says.
Marketing. 'Terri finds marketing her own work difficult and prefers the
idea of outsourcing her marketing as she believes someone else could toot her
moment when Love is so thick in the air that
we can all feel it at the same time."
—Terri Lee
PROFESSIONAL PERSPECTIVES 107
'horn better than slu- can," Sh/ feels th.n maternity photography is an iin-
tamiliar .md ohen seary idea tor many prtKspective clients and that marketmt;
the concept works best when the sessions .xnd images are described and c\
plained, with sample images being shown. This approach works especially
well when coupled with au enthusiasitc endorsement from another client.
Because of the visual nature of the photography business, lerri feels it is
important to produce liigh-qualiiy, colorful, eye-catching marketing pieces.
Her own materials cm be found in the waiting rooms of local pediatricians'
Mu\ obstetricians' ofrtces .\\u\ can be easiU slipped into a purse w hile a client
is waiting for An appointment. Clients leaving her siudio also lake her mar-
keting pieces and share them with friends .md family. Word-of mouth adver-
tising is one of the most effective ways to expand the client base.
On occasion Terri attends community and charity events to meet potential
clients. Siie also donates services and auction items to charitable groups w hose
members tall into her preferred demographic. Additionally, she recommends
speaking to interested groups, where vour wondertul images can be shown
and questions c.m be answered in a group setting.
Without the marketing she has done, Terri feels that she would not be able
to create the work she is most passionate about— maternity And newborn
portraiture.
TIM MEYER
Background. Tim Meyer has worked as a full time professional photographer
since 1979 and currently serves as the chairman of the portrait division at the
Brooks Institute of Photography in Santa Barbara, C:A. He has achieved the
prestigious Master of Photography, Phott)graphic Oaftsman, and Certified
Professional Photographer distinctions from PPA and also holds a Master's ot
Art degree from California State University — Fullerton. He has had numer
ous one-man exhibitions of his fine art portraiture around the country.
Tim finds pregnancy portraiture satisfying and says, "Men have always con
sidered a pregnant wt)man beautiful. It is perhaps tied to our natural feelings
as fathers and our lo\e for the woman with whom we share the experience.
It is exciting to see how maternity portraiture has become such a large pan
of the portrait marketplace .md how it is appreciated bv men .md women
alike."
Working with Clients. Tim hnds it is more clifficult for male photogra
phers to photograph v\omen in w hat approaches a "figure study" style of im-
agery. He alwa\'s works with a female assistant in the studio. Not onl\ does
that put the women at ease, but it allows his female assistant to help them
with clothing adjustments. Tim notes that it is important to consult with the
client before each session to determine what style of portrait they would like
and what le\ el of modest^' is appropriate for them. Not doing so before a ses-
sion can create an aw kward situation, he warns.
Tim observes that creating pregnancy portraits is very i-ewarding both to
the photographer and the subject. He feels there is a joy in seeing clients ex-
Photo by Dea Bachand.
108 THE ART OF PREGNANCY PHOTOGRAPHY
This portrait is a contemporary take on a lighting
5tyle popularly used in the 1930s. The use of two
edge lights complements the pregnant form, and
spotlight highlights the face. Photo by Tim
a
Heyer.
Cited ahoiii quality, crcMtivc photut^rapliv, aiul iliai it is cspccialh rcwardmj^
because pregnancv portrairure is new to manv clients. Tim savs liis clients
have told him wonderful stories ahoui shanni!. their iniai;es with hiends and
taniil\ -WK^ the ania/mi; .md joNtiil responses ttie\ have elicited.
"It is exciting to see how maternity Technical Tips. Tin. (eels that a 60 SOmm lens ,s a peat choice tor n.ll
portraiture has become such a large part frame dt^itai SUis ,nd says that anv lens that is about 1 n t.mes longer than
of the portrait marketplace and how it is a "normal" lens tor a 3Smm tvpe camera would work well.
When lighting their pregnancv portrait subjects, most photographers pre
ter large light sources- -usualK a window or a large soltbov. This tvpe oflighi
tends lo be verv torgivmg and also renders the shape ofihe body beautifullv
when It IS propeiiv used. I im olten uses soft light too but somerimes lights
mainlv tor the face, emploving some ot the more dramatic studit) lighting
techniques to .xdd impact to the portrait.
► PROFESSIONAL REFLEQION
appreciated by men and women alike."
—Tim Meyer
PROFESSIONAL PERSPECTIVES 109
Marketing. Miich"(iTTim\ clitMitlxiscli-ii^TxM^nhun word-
()t-nK>iiili referrals tioni prc\ itms clicnis. ncNclopinu. ni.irkciing relationships
with pediatricians and niaterniiv or "nioniiiiv mu\ nie" i;roiips has also
worked well for Tim, but he warns that xoii need to choose a u,roup that
serves your target demographic. Maternilv portraiture has changeil mm\
grown draniaticalh tner the past few years, 1 ini observes. Whole new gen
erations of women, older women, are having children. They are looking for
new wavs to capture the emotions of that experience, and pregnancy portraits
fill that need.
GAIL PATRICE
Background. Ciail Patrice of Patrice Photography of Ciold River has been a
Sacramento, C'.-\, area photographer for iiKvre than twenty- fi\e years. Gail
trained formally at the West Cx)ast Photography School, the Clolden Ciate
Photograpiu School, ^nd (California Photographic Workshops. She later
served on the board of both the Golden Ciate Photograph\ School mk\ i\\\
ifornia Photographic Workshops. Ihrough her work with other studios m
her early years, Gail gained a background in portraiture, v\edding, and com
mercial photograph\-.
Personal Satisfaction. Ihe growth of GaiPs pregnancx photography spe-
cialty has been gradual. At this time, maternitv portraiture accounts for about
H) percent ot" her client base. Most of her first-tinie niaternitv clients are
women whose weddings or families Gail photographed in the past.
Gail finds photographing pregnant women very rewarding. Slie loves the
challenge of creating a unique image .\ud capturing a beamitul, historic mo-
ment of a woman during this nurturing a\u\ loving stage of her lite — whether
it's their first baby or fourth! Hvery session is different .\\\d memorable: one
mom came to the session in labor with her fourth pregnancv, and Ciail won-
dered if she was going to become a midwife!
Gail also enjoys creating couple images that feature the woman's rounded
form. ''One realk big advantage of being a female photographer is that I am
comfortable with nude or seminude subjects and have mv own wonderful
memories of being pregnant," she sa\s.
Gail notes that there is so much attention given to the mom to-be that
the dads sometimes feel left t)ut. "1 want them to know how special they are
too," she adds.
Technical Tips. Ciail uses onlv northern natural light tor her maternity
pf)rtraits, which streams in through the windows of her warehouse-distriet
studio. ( Unfortimately, there is sometimes a lack of privacy — ^not to mention
the distraction of loud machines and men walking by the studio!) Gail uses
white or silver panels to provide till. She prefers simple backdrops mm.\ tinds
that skin tones look rich with black backgrounds. She is consiantlv on the
lookout lor rich, soti tabrics to wrap seminude pregnant subjects in.
Ciail shoots with a ( Canon 2i)D and tends to use an ISO setting ot' iOO or
2{)() to avoid grain. Siie began her career using medium-format cameras and
Photo by Eleakis Photography (Roger Ele).
no THE ART OF PREGNANCY PHOTOGRAPHY
Gail loves to show skin tones in her images and
uses simple fabrics to wrap both mothers and
couples in. This image was captured with her
Canon 020 at an ISO of 400, a shutter speed of
1/80, and an f/6.1 aperture. The background was
commercial carpeting. Available light and a gold
reflector illuminated the scene. Photo by Gail
Patrice.
► PROFESSIONAL REFLECTION
"One really big advantage of being a
female photographer is that I am
comfortable with nude or seminude
subjects and have my own wonderful
memories of being pregnant."
—Gail Patrice
fixed lenses, and she now really enjoys the tlexibilit)' that using a digital SLR
with a /ooni lens affords.
She repoiis that atiendinu, photography eon\eiuions, staving aeti\e in her
loeal PPA affiliate. Professional Photographers of Sacramento X'allev, and serv-
ing as a past president of that group has helped her to make critical connec-
tions And continue her education in the field. She enjox's getting small groups
oJ photographers together for inlorinal workshops, "just to fuel the passion."
Marketing. Ciail finds that her best niarkeiing tor pregnanes portraiture is
word of niouth. J he majority of her clients are new moms, so the\' tell (riends,
sisters, etc., about their happy e.vperience with C!ail in posing tor a [>regnancy
photo. Ciail says her clients market her!
PROFESSIONAL PERSPECTIVES III
KIM TREFFINGER
Background. Rim rrcffrngcr of UYcKfingcr Studio is an award-winiiint;, for-
mally trained tine artist w ho li\cs in San Diego, (^A. She is w idely recognized
for her digital painting techniques and has long been known for her success,
passion, and enthusiasm across a range of artistic mediums. She was recently
featured on Home and Garden TV's Onfters Coast to Coast ^nd has shown
her work in Southern ('alifornia and naiionalk. Kim is a member of PPA, a
member of and secretary for Professional Photographers of San Diego
County', and a member of the San l>iego VVatercolor Societ)' and San Die-
guito Art Guild. She holds a bachelor's degree in design from the University
of (California — ^Daxis.
Personal Satisfaction. "I love a client who will put their trust in you to
be creative and still have their interest at heart in pushing the limits and try-
ing something new. I kne w lien we are ha\ ing a great time together and you
just know from each successive shot that you are getting something special
for the client that the\' are going to love for the rest of their life," she says.
Sometimes a client arri\ es feeling critical about their appearance, and Kim
is able to break through and reassure them that they are going to get some
great images they w ill lo\ e. It is those clients who seem to appreciate the ses-
sion — and the portraits Kim creates — the most. She enjoys the creative
process of working on mi image .md artisticalK' taking it to a w hole new level.
Photo by Barbara Steinberg.
Kim loves working with soft, natural light. This
image was captured on the sofa in her client's
home. Photo by Kim Treffinger.
► PROFESSIONAL REFLECTION
"There is nothing Like the personal connec-
tion you get with your client when you
know you have created something really
special that they never expected."
— Kim Treffinger
Photo by Ten Shevy.
Kim lines her job inoiv than anything (aside trom her ehildren). ''[ was a
traditional painter for many years before disecnering that I could eombine
my painting skill with portrait photography^' Kjm says. ^"Ihcrc is nothing
like the personal connection you get w ith vour client when you know youVe
created something reallv special that the\ never expected. Seeing their tears
ot jo\- when thev see the images for the hrst time is priceless," Kim says.
Marketing. So far Kim has been \erv luck^ w ith word of mouth referrals,
but she is beginning to pro\ ide other professionals with gift certificates they
can offer to their clients as thank-you gifts to build her client base.
Her specialty is digital painting, and in her area there atcirt too many pho-
tographers u Ith a tine art painting background, so it really sets her work apart
and has allowed her business to grow relati\elv quicklv.
Kim's clients really enjoy her coffee-table books produced using tine-art
images from a single session or multiple sessions. She finds that once a client
sees a book she has created for another mom, they become excited about cre-
ating their ow n book, too.
Technical Tips. Kim shoots with a C\mon SH and tends to stick to her
24-70mm f/2.8 lens. She prefers to use natural light whenc\er possible. She
has several Larson standalone reflectors in matte siher and shinv sih er that are
used for fill.
KJm produces portraits in a \ancty of presentations, depending on the sub-
ject: she says black & white is a great choice that realK pulls the portrait to-
gether when there are too man\- distracting colors or textures in the
composition. Combination black & w hiie and color portraits are a popular
choice, and her clients also enjoy her color images warmed up with a bit of a
sepia tone.
As mentioned, Kim also creates painted portraits. She finds that it's best to
bt)ost the color saturation of images she plans to paint to ensure the most
authentic results.
CARL CAYLOR
Background. Carl C as lor grew up in Wisconsin .\nd currently lives in L'pper
iMichigan. His studio, I'hoto Images b\ Carl, is located in Iron Mountain,
i\lN. He has been involved m photography for more than twenty wars. He
started his career in the darkroom as a custom printer and technician, a tact
that has proven to be a great asset to his photographic and teaching career.
c:arl has earned the designations of Master Photographer and Photographic
Oaftsman from PPA. He has numerous Loan C:ollcction images and has re-
ceived several Kodak Clallex' and Fuji Masterpiece Awards. C:arl has iwicc been
named Photographer of the Year by the Professional Photographers of Wis-
consin. He teaches seminars from coast to coast.
Personal Satisfaction. What Carl appreciates about having added preg-
nancy photograph) to his repertoire is that it has created repeat business. "It
makes me part of a client's family experiences and allow s me to watch the
guests' children grow," C:arl says. He feels that the most rewarding aspect of
PROFESSIONAL PERSPECTIVES 113
pregnancy portraiture is the creative challenge of doing somethmg unique
and artistic during a tender moment in a voung family's life. "We already
have a tender emotion presented to us, hut we need to personalize .md im
mortali/e it lor the couple," Carl explains.
He shares, however, that some new clients' hushands leel imcomtortable
with the close, sometimes \erv personal nature ofthe session and images and
Carl created this exquisitely lit image to show the
relationship between the father and his unborn
child. Never underestimate the power of emo-
tional undertones. Photo by Carl Caylor.
114 THE ART OF PREGNANCY PHOTOGRAPHY
t
^ PROFESSIONAL REFLECTIGN
"People appear deeper in thought when
they are not brightly lit."
—Carl Caylor
tccis it would he easier for the men it he were a female photographer. The
moihers-to-he love the experience, tliough, says Carl, so he tries to include
Dad as much as possible.
Technical Tips. "If beauty were only skin deep, every photograph would
re\ eal the same personalit>V' says Carl. He feels the goal of creating a portrait
siiould be to produce an artistic expression that goes past the outer layer, be-
yond the first impression, and detines the subject's essence. Artistry is a large
component in this undertaking; C:arrs philosophy is that photography is art
Mu\ family histt)ry both. He feels that, without an artistic sense, a portrait
has lU) longevity and will not be part of one's tamily history.
C:arl recommends using a longer focal-length lens, as it allows you to give
the client a little more personal space. Also, the longer lens allows for less
foreshortening of body parts, more realistically capturing the shape and form
of the mother.
C^arl tinds that window light is the most tlattering and comfortable light-
ing option for his subjects. Since a subject's emotions are generally on the ten-
der or soft side, he portrays the woman with the mask of her face in shadow.
"Psychologically, people are deeper in thought when they are not brightly
lit. Therefore, we want to make sure that the lighting style matches the emo-
tions we want to portray,'' C^arl adds.
The final presentation of the image depends on the mood that Carl and the
subject want to create. If the client is dark-haired and wearing earth tones, for
example, Carl will often create a black & white image; if the colors and the
subject's hair are lighter in tone, the final image may be a watercolor.
Marketing. (]arl says his best marketing tool is word of mouth but that a
display of images at local obstetrics and g>^necolog>' offices and displaying
pregnancx- portraits in his galler\' also attracts a number of new clients.
Carl notes that as a pregnancy photographer, you are creating the first im-
ages of a new generation, and as those babies grow, you can create their chil-
dren's portraits, family portraits, senior portraits, weddings, etc. He says, "It
can't help but grow your business."
Photo by John Clark.
GIGI CLARK
Background. With four college degrees, Gigi has a varied background in-
cluding multimedia, instructional design, graphic design, and conceptual
art. She brings all of her multi-disciplined talents to her upscale wedding and
creative portrait photography business, Rituals by Design, located in South-
ern (California.
Gigi has received numerous awards and honors, including several First
Place Awards in PPA and WPPI comperitions and the first-ever FujiFilm Set-
ting New Trends Award. In addirion, she has recently won the highly coveted
Kodak Award of Distinction. Her work and writings also appear in numerous
journals, magazines, and books. She has also earned PPA's Master Photog-
rapher, Photographic Craftsman, Certified Professional Photographer, and
Approved Photographic Instructor designations.
PROFESSIONAL PERSPECTIVES 115
I
I
I
I
Gigi specializes in black & white ph()t()t;raphy. Vhc fine-art qualitv other
images goes far beyond mere documentation. She is highly respected b\' other
photographers who appreciate her style and sensiti\it\'. Legendary portrait
photographer Monte Zucker once said, "Then there's Gigi C;iark, who's
stopped everyone cold in their tracks. Her images are more creative than one
could imagine. With no 'rules' to keep her down, she consistentlv comes up
with great photographs!" (Shuttcrbujj, Januar\' 2()()()). That review is cer-
tainlv well deserved.
Personal Satisfaction, "lb sa\' pregnane)' portraits changed me for the
better is an understatement," Gigi shares. She sees capturing pregnancy im-
ages as the new frontier in portrait photography and fmds it exciting that all
of the options haven't been explored yet. Because of his "uncharted terri-
tory," she is constantly challenged as an artist, and she lives for the (>iit;oinu
artistic challenge.
Gigi loves the challenge, however. She notes that because of the nature of
tlie mother's condition, there will be cancellations M\i.\ a ni:i:d to reschedule
appointments, Mui ynu will \M:i:i^\ to be patient .md accommodating of vour
clients. Cugi has e\en sciieduled sessions late in the game w hen a pregnant
mommy was due to deliver in less than two weeks!
This portrait, entitled. In the Manner of Gauguin.
Unfinished Work, was inspired by Gauguin's mem-
orable painting. Nevermore, a portrayal of this
thirteen-year-old mistress shortly after the birth
of their child. Gigi was captivated by the lyrical,
colorful, and symbolic meanings found in the
painting. In her version, she also took into con-
sideration the personality of the pregnant mom
and focused on her love of the sea and related el-
ements. Her final presentation is three dimen-
sional, with the image "floating" on top of the
frieze layer, much as you would when floating in
the sea. Gigi believes that an image should ex-
plore and illustrate the psychological depths of
the subject. Photo by Gigi Clark.
116 THE ART OF PREGNANCY PHOTOGRAPHY
Ci\^\ is willing lo giNc up sonic private linic to take care of her expectant
clients and work witli them on odd schedules. Her reasoning is practicah "It's
}}<>( all about business at hand, but tutui-e work that follows, especiallv after
the baby is born," she says. The key to her success is to preplan the session,
allowing some extra time (unbeknownst to the mother until the session time)
to take awav any stress of being "on the clock." "'Work hard, give extra rime;
the business w ill follow; has alwavs been my philosophy," states Gigi.
Liigi uses "quick-sets," that is, short bursts of intense shooting with fre
quent breaks for the new moms, as you only have a short time before the
weight of baby's body on the mother's organs begins to make the subject
uncomtoriable. Cligi also recommends having a restroom nearby and a cooler
or mini tridge tilled w ith chilled juices to give mom energy' when things starts
to Hag. ]u\L<: is sugar water to the bod\' and boosts the electrolyte levels
quickly, giving the tired mom-to-be a quick energ)' boost. It is simply good
business to pro\ide customer service — costs are minimal, and the returns are
worth it.
Gigi also finds it rewarding to be able to document the "life cycle" of a
tamiK .md solicit their in\ol\emcnt in conceptualizing meaningful, highly
artistic portraits. For example, she photographed a client's wedding, then
created the ultimate portrait of the client's late pregnancy with her twins, and
finally continued the scries with portraits of the woman and her husband
holding each twin. The images, which were painted and gilded in the man-
ner ot .\rt Deco painter Gustav KJimt, were featured in a triptych entitled
(hir to Joy.
Ciigi doesn't find any part of creating pregnancy portraits difficult. From
customer courtesies, to posing comfortably, to planning flexible schedules
and expressing unique artistic approaches, "it's magic beyond words" to Gigi.
Technical Tips, Ciigi prefers to use portrait length lenses ( 1 50mm for Fias-
selblad work and lOSmm for 35mm work) to separate her subjects from the
backgroimd. She also feels that using such a focal length caresses the sub-
ject's face, making her features look great. Many of her lighting setups con-
sist of an o\crsized softbox (or softboxcs) and refiectors.
Gigi feels it's important to design a portrait with her clients, t>'ing in ex-
ternal elements that can tell you more about them to create a portrait with
an enduring quality that w ill be cherished beyond the subject's lifetime. Fier
decision to create a black & white or color image depends on her objective
► PROFESSIONAL REFLECTION for the portrait. "Black & white clarifies the viewers' impression of the por-
"To say pregnancy portraits changed me ^J.^^^ .^y^^J^ focuses the eyes on the compositional elements of the image. Color,
on the other hand, dazzles the eye but allows for emotional symbolism to be
found in portraiture," she says. For example, Gigi created a portrait called
Ht-art and Soul: The Story of Eros and Psyche for a couple's tenth w edding an-
ni\ ersar\^ C:onsidcring that since the Roman times, the color orange has sym-
bolized passion and a butterfly has symbolized the soul, she employed these
.symbols and much more to create a portrait that tells the story of who they
really are and what they do for each other.
for the better is an understatement."
—Gigi Clark
PROFESSIONAL PERSPECTIVES 117
^Marketing! SgTdlscwcrcTtSaf a"^^ to reach mothcrs-to-bc is to
network with "parallel" markets (i.e., stores where pregnant moms shop, C)B-
GYN offices, etc.). She often displays "mini art shows" in obstetricians' and
gynecologists' offices that are visiiallv rewarding for both the doctor and the
patients. A discretely placed information "pocket" is also included with the
display. The fine-art qualit\' of her portraits lends them to be displayed in the
doctors' permanent collection, and the works speak for themselves over tmie.
This t>'pe of marketing reaches the public in a way that is better suited to the
visual nature of our art than are bulk mailings, print ads, and in-studio dis-
plays. "The key is to restrain yourself to show only a few, highi\ specialized
pieces, to gain the attention of ptitential clients," Gigi says.
KATHLEEN AND JEFF HAWKINS
Kathleen Hawkins and her husband and partner Jeff Hawkins operate Jeft
Hawkins Photography, a successful, fully digital high -end wedding and por
trait photography studio in Longwood, FL. Kathleen holds her Photographic
(>afi:sman degree and earned a masters in business administration. She pre-
vioush' taught business courses for a Florida universit\'. She has also served as
president of the Wedding Professionals of Central Fioricla.
Kathleen and Jeff are ct)authors oi' Proffssiouai Mnrkctinjj & Selling Tech-
niques for Dijjital Wediiinjj Photqqraphers {2nd ed.; 2006) and Professiojial
Techniques for Digital Weddinjj Photo£[raphy {2nd ed., 2004), both published
by Amherst Media. Kathleen is the author of Vjc Bride's Guide to Weddiu/f
Photo fir a phy (2003), Marketitijj 6^ Selling Techniques for Dijjital Portrait Pho-
tojfraphy{200S), and Dipfital Photojjraphyfor Children sand Family Portrai-
ture (2nd ed., 2008), alt from Amherst Media. Kathleen and Jeff are both
ver\' active in the photography speaking circuit and take pride in their impact
in the industrv and in the communit)'.
Personal Satisfaction. To Kathleen, pregnancy is beautiful, and capturing
that moment in time is priceless. She says many clients feel self-conscious
about their swollen ankles and stretch marks, and that seeing the joyfiil ex-
pression on their faces when they realize how Kathleen And Jeff ha\ e cap-
tured their inner and outer beaut>' and their joy about their pregnancy is the
most satisfying aspect of pregnancy photography. "It is more rew arding than
words can express," states Kathleen.
Technical Tips. K^uhleen and Jeff always work with an assistant or make
certain someone else (husband or family member) is present durini; a mater^
nity session. They feel that maternity sessions are intimate, and you should
never photograph the client alone.
IJke many of the other photographers profiled, Kathleen and Jeff also use
a large softbox— the Larson 4x6 Softbox— for their studio maternit}' sessions.
They favor using a 70-2001. f/2.8 lens or the 851. f/1.2 lens set at t/S with
their C'anon 5D.
Kathleen and Jeff use sheer fabrics from \v\\av. coleandcompany.com to
wrap around the mom-to-be and create an elegant, soft background. I'hev
Photo by Jeff Hawkins.
118 THE ART OF PREGNANCY PHOTOGRAPHY
m
This image- entitled Belly Basics, is a simple clas-
sic maternity portrait, where you focus in on the
side view of the belly. To capture this image, Jeff
aid Kathleen created a silhouette, lighting the
!lject from the side with a kicker light placed
behind her.
► PROFESSIONAL REFLECTION
"[Pregnancy portraiture] is more rewarding
than words can express."
—Kathleen Hawkins
also suggest that \<)u analy/c the niotlicr's comfort level to determine what
poses you will be able to do, aiu\ try creating a series of signature poses to
brand vour portrait style .^nd look.
Marketing. Kathleen's marketing etlorts began with the niiplementation
other Lifetime Portrait Program. The program permits their wedding clients
(who receive a complimentary membership) and portrait clients (to whom
membership is available with a purchase) to recei\e complimentary portrait
sessions for their lifetime. Dates, times, and locations are subject to availabil-
itv and are determined at Kathleen and Jeff's discretion. These sessions t>'p-
icalK' begin w ith mi engagement session, tiien move to a wedding shoot. A
maternit\' session is often scheduled some time later.
Kathleen .md leff promote their lifetime client concept by showing mater-
nit)' images, newborn portraits, a wedding portraits, .md famih' portraits in
displays presented in their community.
Kathleen and Jeff also use Marathon Press^ Marketing Partnership Pro-
gram for direct mail targeted at parents to-be w ithin a speciHc income range
li\ing within specific zip codes. With the help of their customer lo\alt\' pro-
gram, their portrait client base increased by 28 percent in 2{){)6, .md 7.S per-
cent of their wedding clients booked a maternit\' session.
PROFESSIONAL PERSPECTIVES 119
JUDY HOST
Background. Judy Host, owner of Jud\- Host rhotography, located in
Danville, C^A (tliirt)' niiles east of San Hraneisco), is one of Northern (^aii
fornia's leading portrait photographers. She has earned her Masters and Ptio
tographic ("raftsman degrees from PPA, and her images are included in the
association's national exhibits. Iud\ has recei\cd three Kodak Cialler\' Awards
(1999, 2000, and 2002) in recognition of her creati\ii\ .\nd the piirsiiit ofex
cetlence in qLiaHtx'. Many of her images ha\e been exhibited at I'pcoi ('enter
and are part of a tra\eling loan collection.
In January 2004 and 200S, Judv was selected b\ the Holhuood Foreign
Press to include a portrait session gift certificate in the presenter gift box for
the Golden Globes. She has photographed Jack Nicholson, Pierce lirosnan,
Nicole Kidman, Mehki Phifer, William H. Mac\, Pelicity Hirffman, and manv
other celebrities And is currentk working on a journal for /;/ Snlr on the
events leading up to the Golden Globes.
In January 20()S, judv tra\eled to Africa to photograph the presidents of
Uganda .\nd Rwanda mk\ se\eral orphanages in both countries. She also tra\
eled to Sn Lanka, India, and Thailand to document the progress ofisunami
Above— Photo by Amy Cantrell. Below— This
image was captured with a LensBaby, pointed di-
rectly into the window of the studio. The subject's 1
very pregnant body was covered with a beautiful
green scarf with a fan blowing in her direction to
keep it from falling off. Photo by Judy Host.
► PROFESSIONAL REFLECTION
"Looking for a novel marketing strategy,
rdesigned a baby program for my clientele."
—Judy Host
sui-vi\()rs. Currently, Judy is working with the Foundation tor Healing
Among Nations on a project called Our Soulful Nation.
ludy spoke in C;hicagc) in February 2007 for Pro Labs and also led a series
of workshops on lighting and creating your own style for Brooks Institute in
2007.
Personal Satisfaction. ''\ love what I do," Judy shares. ^^I fmd running a
business difticuh w hen all 1 reallv want to do is create art." Judy says that
exeryday when she w akes up, she is grateful to make a living doing w hat she
loves to do!
Judy loves photographing pregnant women for many reasons. She feels
that creating a portrait that emphasizes this time in a \voman;s life is an honor.
"'Ihere is a glow about a woman who is pregnant," states Jud\'. She also
notes, ''It's the start of a cycle of a relationship that you can't put a price on.
I tend to forget the importance of my place in my clients' world. We are doc-
umenting the most precious times of their li\es. Fm fortunate to do what I
love for a li\'ing."
Technical Tips. Judy feels that there is no single focal length, lighting
style, or presentation that works for e\ery session. She feels that the best artis-
tic approach (e.g., ct)lor or black ik white, soft or dramatic lighting, focal
length, etc. ) for each subject or group is really just a matter of interpretation.
Marketing. Looking for a novel marketing strategv', Judy designed a baby
program for her clientele. The program included three portrait sessions; there
was no expiration date, and the sessions could be used an\'time and anvwherc
the client w ished. The program offered three sessions for tfie price of one; this
advantage made it easy for Judy to sell the program to her clients.
To get the word out about the program, Judy used a listing service to ob-
tain addresses of new moms living in specific zip codes. She then sent a sin-
gle beautifully designed watercolor card to scvcntv' to one hundred addresses
each month. Her return was .m average of 3 percent c\ery month. She also
created a display of her work, w hich was hung in a local medical building. The
school chanty auctions were also a great source of advertising and branding
for her name.
Judy's clientele is about 40 percent return custt)mers becaiLse of the orig-
inal baby program, w hich has enabled her to build a relationship with her
customers and almost become one of the family. "It's a wonderful way to do
business. It's also a wonder hjl referral base," Judy shares.
Judy reports that her business changes constantly. She finds herself always
looking to create new products to .sell. "You can only own so many canvas
portraits," she adds. Offering new products to your existing client base helps
you test the water. Judy always asks for feedback and wants to kiK)w what
other products her clients may like. She also makes it a point to attend .sem-
inars, workshops, and con\'entions to gain insight into what's new in the
market.
PROFESSIONAL PERSPECTIVES 121
m INDEX ^^B
■
H
^m
(Comfort, cont'd)
"^^^PPI^^^I
^H Adobe Photoshop, 8, 70-78
physical, 14
Hawkins, Kathleen and Jeff, ^^|
^H actions, 8, 60, 64, 85, 88, 103
temperature, 14
^H
^^m Angle of \'ic\\-, 34, 56-57
Composite images, 80-89
Home sessions, 9-11, 58-63 ^^|
^H Artistic effects, 74-75, 78-89
Composition, 34, 51-57
advantages, 9-10 ^^^B
^^^^ Assistants, 18, 59, 108, 118
angle of view, 56-57
furniture, 1 1 ^^^|
^^^P
balance, 51-52
window light, 9 ^^H
^B^ B
C' curves, 54
Host, Judy, 120-21 ,^H
^H Backgrounds, 25-26, 67, 68
color harmony, 54-55
^H
^^^H lighting, 67, 68
leading lines, 53-54
^H
^^^^H selecting, 25-26
lighting and, 55
Image, business, 90-91 ^^|
^^t^ Borders, digital, 79-80
relative size, 52
^M
^^^P
rhythm, 52-53
^1
^^t C
rule of thirds, 53
Kubota, Ke\ in, 103-5 ^^^H
^^B C^andid images, 16
S curves, 54
Artistic Actions, 8, 60, 64, 85, B
^H Caylor, Carl, 113-15
Consultation, 7, 10, 12, 14, 97
88, 103 ^J
^H Children, 19-20, 43, 45-46
Creative effects, see Artistic effects
^H
^^B five- to seven-year-olds, 45
^H
^^m older children, 43, 45^6
D
Lee, Terri, 107-9 ^H
^^H toddlers and preschoolers, 45
Dads, see Fathers
Lighting, 58 69 ^H
^H Clark, Gigi, 115-18
Due date, 11,83
backgrounds, 67, 68 ^^H
^H Clients, 14-20, 90-101
DVD, 102
broad, 67 ^^H
^^M attracting, 90-101
buttertl)', 67 ^^H
^^B connecting with, 14-20
E
equipment, basic, 65 ^^H
^^m repeat, 98
Expressions, 16, 19, 20, 31, 45,
45 -degree, see Lighting, ^^^B
^H Clothing, 9, 12
47,50, 54,85, 101
Rembrandt ^^^H
^H Color, 54-55, 62
hair, 67, 68 ^^H
^^B casts, 62
F
hard, 58, 62 ^H
^^B harmony, 54-55
Fabrics, selecting, 24-25
high key, 10 ^^^|
^^B wheel, 55
Fantasy images, 80-89
loop, 67 ^^^1
^H Comfort, 9, 14, 40-44
Fathers, 40-44, 108
^H
^^H clothing, 9
Filters, digital, 74-75, 78-79
modifying, 58, 62, 65 ^^M
^^^^ fathers, 40^4
■
^^B 122 THE ART OF PREGNANCY PHOTOGRAPHY
(Liflhthiji. conrd) ^^B
N ^^^V|i|||||
r
^^^^^^^^^^^^^^^B
Paramount, .vtr Lighting,
Nik Software, 6, 62, 70, 71
, 74,
58-63 ^^^^^^H
butterfly
75-76, 77, 78-79
scheduling, 11-12 ^^^^^^^|
profile, 68
Nude subjects, 17-19
studio, 9-11, 64-69 ^^^^H
ratios, 65-66
Siblings, 14, 43, 45^6 ^^|
Rembrandt, 67
older children, 43, 45--t6 ^^^|
rim, -fct' Lighting, rim
Ohsterricians, 92,98, 106,
108,
twins, 87-88 ^^H
short, 67
115
young children, 12, 45 ^^^|
sott,58-59,107, 109
Outdoor images, 104-5
Slide shows, 102 ^^^^B
split, 68
Slimming the subject, 36, 38, 64, ^^^|
window, 9, 58,59-62,68
P
^^1
Lighting equipment, 58,65
Patrice, Gail, 110-11
Softbox, 17,58,65, 109, 117, ^^|
basic, 65
Photoshop, see Adobe Photoshop
118 ^^1
reflector, 58
Plug-ins, 6, 62,70, 71,74,
75-76,
Studio sessions, 9-1 1 , 64-69 .^^^|
softbox, 17,58,65, 109, 117,
77, 78-79
^^1
118
Posing, 28-50
^^1
umbrella, S^
basic, 30 36
Temperature, studio, 14 ^^^^
windowHght,9, 58,59 62,
lying, 32-35
Toning images, 74-75, 78-79 ^^H
68-69
seated, 35-36
Trcffinger, Kim, 112-13 ^^^k
,ocation, 9-1 1
standing, 30-31
Trust, building, 14 ^^^|
books, 50
Twins, 87-88 ^^|
M
children, 44-46
^^^
Makeup, 12
concepts, 28-30
^^1
Marketing, 90-101
corrective, 36
Umbrella, 58 ^^|
■ brochures, 91, 92
couples, 40^4
^^
■ flyers, 92, 94
education, 47-50
1
■ gift certificates, 98-99
groups, 46^7
Vignettes, 25, 60, 64, 85, 89 ■
■ image, business, 90-91
hands, 33-35
Vision, artistic, 14, 15-16 ^|
■ interviews, 102
head, 36
■
■ magazines, 94
history of, 28
■
■ newspapers, 94
idea hies, 50
Website, 94-97 ■
■ obstetricians, 92, 98, 106, 108,
perspective, 36
Window light, 9, 58, 59-62, 68-69 fl
H 115
Proofs, 102
fl
Bportrait displays, 98
Props, 23
B
"postcards, 92-94
■
■ public relations, 100-101
R
■
■ repeat clients, 98
Retouching, 70-78
^^^k
■television, 98
blemishes, 76-78
.^^1
■website, 94-97
slimming the subject, 73-
-74
^^^^1
■word of mouth, 98, 105, 110,
stretch marks, 71-72, 76
-7^
.^^1
111,113,115
^^H
Meyer, Tim, 103-10
S
^^^1
Mood, 54, 55
Sales, 102
^H
Music, royalty-free, 102
Sessions, 9-10, 11-12, 58-i
64-69
63,
PROFESSIONAL PERSPECTIVES 123 ^^H
Live Music Archive
Librivox Free Audio
Metropolitan Museum
Cleveland Museum of Art
Internet Arcade
Console Living Room
Books to Borrow
Open Library
TV News
Understanding 9/11